OFFICIAL NOMINATIONS FOR THE 84TH ACADEMY AWARDS!

 

It's been a long time waiting for Oscar fans but now the Academy has revealed their contenders in each category with plenty of shocks and surprises in many of the categories as Hugo leads the way with 11 nominations followed by The Artist with 10. This includes just two songs nominated in the Original Song category, Girl with the Dragon Tattoo snubbed for Original Score and the Adventures of Tin Tin snubbed for Animated Film. And that's just the technical categories! The greatest show on earth will be hosted by the legendary Billy Crystal on Sunday 24th February in what promises to be an excellent night for winners and speeches. The whole list is below....

Best Picture
The Artist

The Descendants

Extremely Loud & Incredibly Close

The Help

Hugo

Midnight in Paris

Moneyball

The Tree of Life

War Horse

Best Director 

Woody Allen - Midnight in Paris

Michel Hazanavicius - The Artist

Terrence Malick - The Tree of Life

Alexander Payne - The Descendants

Martin Scorsese - Hugo

Best Actor
Demian Bichir - A Better Life

George Clooney - The Descendants

Jean Dujardin - The Artist

Gary Oldman - Tinker, Tailor, Soldier, Spy

Brad Pitt - Moneyball

Best Actress

Glenn Close - Albert Nobbs

Viola Davis - The Help
Rooney Mara - The Girl with the Dragon Tattoo

Meryl Streep - The Iron Lady

Michelle Williams - My Week With Marilyn

Best Supporting Actor
Kenneth Branagh - My Week With Marilyn

Jonah Hill - Moneyball

Nick Nolte - Warrior

Christopher Plummer - Beginners

Max von Sydow - Extremely Loud & Incredibly Close

Best Supporting Actress
Bérénice Bejo - The Artist"
Jessica Chastain - The Help

Melissa McCarthy - Bridesmaids

Janet McTeer - Albert Nobbs

Octavia Spencer - The Help

Best Writing (Adapted Screenplay)
The Descendants

Hugo

The Ides of March

Moneyball

Tinker, Tailor, Soldier, Spy

Best Writing (Original Screenplay)
The Artist

Bridesmaids

Margin Call

Midnight in Paris

A Separation

Best Art Direction
The Artist

Harry Potter and the Deathly Hallows: Part 2

Hugo

Midnight in Paris

War Horse

Best Cinematography
The Artist

The Girl with the Dragon Tattoo

Hugo

The Tree of Life

War Horse

Best Costume Design
Anonymous

The Artist

Hugo 

Jane Eyre

W.E.

Best Film Editing
The Artist

The Descendants

The Girl with the Dragon Tattoo

Hugo

Moneyball

Best Makeup
Albert Nobbs

Harry Potter and the Deathly Hallows: Part 2

The Iron Lady

Best Music (Original Score)
The Adventures of Tintin

The Artist

Hugo

Tinker, Tailor, Soldier, Spy

War Horse

Best Music (Original Song)
"Man or Muppet" - The Muppets

"Real in Rio" - Rio

Best Sound Editing
Drive

The Girl with the Dragon Tattoo

Hugo

Transformers: Dark of the Moon

War Horse

Best Sound Mixing 

The Girl with the Dragon Tattoo 

Hugo

Moneyball 

Transformers: Dark of the Moon
War Horse

Best Visual Effects
Harry Potter and the Deathly Hallows: Part 2

Hugo

Real Steel

Rise of the Planet of the Apes

Transformers: Dark of the Moon

Best Foreign Language Film
Bullhead - Belgium
Monsieur Lazhar - Canada
A Separation - Iran
Footnote - Israel
In Darkness - Poland

Best Animated Feature Film
A Cat in Paris
Chico and Rita
Kung Fu Panda 2
Puss in Boots
Rango

MY PREDICTED NOMINEES FOR THE 84TH ACADEMY AWARDS

Almost a year since The King's Speech triumphed over films like The Social Network, Black Swan and Toy Story 3, much anticipation has been made for yet another year of glitz and glamour but most importantly, it's predicting the Oscar nominations before all that which has made me excited after another year of excellent, vibrant and highly-charged film-making. Tomorrow the nominations will be announced by last year's Leading Actress nominee Jennifer Lawrence and here are my FINAL predictions in almost every category (aside from the lesser interesting ones !), enjoy....

BEST PICTURE
The Artist
The Descendants
The Help
Hugo
Midnight In Paris
Moneyball
War Horse

If there's 8 then Girl with the Dragon Tattoo as well


BEST DIRECTOR
Woody Allen - Midnight In Paris
Michel Hazanavicuis - The Artist
Alexander Payne - The Descendants
Martin Scorsese - Hugo
Steven Spielberg - War Horse

Alt: David Fincher - The Girl with the Dragon Tattoo


BEST ACTOR
George Clooney - The Descendants
Leonardo Di-Caprio - J. Edgar
Jean Dujardin - The Artist
Michael Fassbender - Shame
Brad Pitt - Moneyball

Alt: Gary Oldman - Tinker Tailor Soldier Spy


BEST ACTRESS
Glenn Close - Albert Nobbs
Viola Davis - The Help
Meryl Streep - The Iron Lady
Tilda Swinton - We Need to Talk about Kevin
Michelle Williams - My Week with Marilyn

Alt: Rooney Mara - The Girl with the Dragon Tattoo


BEST SUPPORTING ACTOR
Kenneth Branagh - My Week with Marilyn
Albert Brooks - Drive
Jonah Hill - Moneyball
Nick Nolte - Warrior
Christopher Plummer - Beginners

Alt: Ben Kingsley - Hugo


BEST SUPPORTING ACTRESS
Berenice Bejo - The Artist
Jessica Chastain - The Help
Melissa McCarthy - Bridesmaids
Octavia Spencer - The Help
Shailene Woodley - The Descendants

Alt: Janet McTeer - Albert Nobbs


BEST ORIGINAL SCREENPLAY
50/50
The Artist
Bridesmaids
Midnight In Paris
A Separation

Alt: Young Adult


BEST ADAPTED SCREENPLAY
The Descendants
The Girl with the Dragon Tattoo
The Help
Hugo
Moneyball

Alt: Tinker Tailor Soldier Spy


BEST ART DIRECTION
The Artist
Harry Potter and the Deathly Hallows Part Two
Hugo
Tinker Tailor Soldier Spy
War Horse

Alt: Anonymous


BEST CINEMATOGRAPHY
The Artist
The Girl with the Dragon Tattoo
Hugo
The Tree of Life
War Horse

Alt: Tinker Tailor Soldier Spy


BEST COSTUME DESIGN
The Artist
The Help
Hugo
Jane Eyre
W.E

Alt: Anonymous


BEST MAKEUP
Anonymous
Harry Potter and the Deathly Hallows Part Two
The Iron Lady

Alt: Hugo


BEST EDITING
The Artist
The Girl with the Dragon Tattoo
Hugo
Moneyball
War Horse

Alt: The Tree of Life


BEST SOUND EDITING
The Adventures of Tin Tin: The Secret of the Unicorn
Harry Potter and the Deathly Hallows Part Two
Mission Impossible: Ghost Protocol
Super 8
War Horse

Alt: Rango


BEST SOUND MIXING
The Adventures of Tin Tin: The Secret of the Unicorn
Hugo
Super 8
Transformers: Dark of the Moon
War Horse

Alt: Harry Potter and the Deathly Hallows Part Two


BEST VISUAL EFFECTS
Harry Potter and the Deathly Hallows Part Two
Hugo
Rise of the Planet of the Apes
Transformers: Dark of the Moon
The Tree of Life

Alt: Captain America: The First Avenger


BEST ORIGINAL SCORE
The Adventures of Tin Tin: The Secret of the Unicorn
The Artist
The Girl with the Dragon Tattoo
Hugo
War Horse

Alt: Tinker Tailor Soldier Spy


BEST ORIGINAL SONG
Albert Nobbs - "Lay Your Head Down"
Captain America: The First Avenger - "Star Spangled Man"
The Help - "The Living Proof"
The Muppets - "Life's a Happy Song"
The Muppets - "Pictures in my Head"

Alt: The Muppets - "Man or Muppet"


BEST ANIMATED FILM
The Adventures of Tin Tin: The Secret of the Unicorn
Arthur Christmas
Kung Fu Panda 2
Puss In Boots
Rango

Alt: Rio

WAR HORSE (2011) - 4 STARS

"We will be together again"

DIRECTOR: Steven SPIELBERG

STARRING: Jeremy IRVINE, Peter MULLAN, Emily WATSON, David THEWLIS

Having only directed one film in the past six years, the legendary Steven Spielberg has enjoyed another successful comeback year with the release of two films which both struck cords with me in terms of creative story-telling and fluent action. Ironically though, War Horse like The Adventures of Tin Tin is all about adventure of the grandest proportions and when it comes to Spielberg you know you're in for a treat in his homage to John Ford classics. But while the animated hit was filled with action and wittiness, War Horse delivers on an epic and majestic scale with a story of friendship and courage between a boy and his horse that later takes us to the horrors of a great war which threatened to tarnish humanity forever. Sentimental it is, but that's what you get when you have the director of E.T, Schindler's List and Saving Private Ryan on board....
 

 Set in the English countryside, farmer Ted Naracott (Mullan) brings home a young horse, that he won at an auction to try and help grow crops at his farm so he can pay a debt off to landlord Lyon (Thewlis). His son Albert (Irvine) becomes fascinated by the horse and names it Joey and decides to train him to use the farming equipment in order to plant seeds which after much hard work, manages to succeed. But the brief, yet strong bond between the two ends abruptly when the arrival of World War One leads to Ted selling Joey to the Calvary much to Albert's dismay but despite Calvary Captain Nicholls (Tom Hiddleston) guaranteeing the horse's safety, Albert vows to be reunited with his horse one way or another. Over the course of the war, the story takes Joey on an incredible journey as he finds himself in the hands of various people who become gracious of his majesty including a pair of German deserters and a sickly French girl named Emile (Celine Buckens) and her grandfather (Neils Aerstrup) before he faces the traumatic events of the trenches in No Man's Land. Unbeknownst to him though, Albert is there too, fighting alongside his comrades and seeking to be reunited with his companion....

Adapted admirably from the acclaimed play that stamped a mark at the West End and Broadway, Spielberg manages to balance out the heartfelt emotion shown throughout the story as see the war through Joey's eyes with his relationship with Albert touching to watch and leaving you dismayed the moment we see the separation between the pair before the war sequences appear. The audience is then taken on a journey involving the horse, through its frequently changing owners, most of them who treat it with dedicated respect like Captain Nicholls and Emile and her grandfather. The horse somehow has the power to affect the relationships between humans which is displayed by a heartfelt scene towards the end during No Man's Land when a British and German soldier join forces to free Joey from barbed wire. Like he did with Saving Private Ryan, Spielberg shows no mercy to his audiences with the way he depicts war on the big screen, and while the blood and gore of that film is set aside here, you still get the harrowing reality of what war must have been like for many during that time. Yes the likes of All Quiet on the Western Front and Blackadder have portrayed WWI fine on screen, but never has it looked more epic and ferocious as Spielberg presents it here with the heroism from the British side quickly dispelled particularly in a key scene where Nicholls and his Calvary are overpowered by German machine gun fire. As a spectacle, Spielberg goes a long way to achieve his nod to old Hollywood and shows that here with the production design and most importantly his stunning cinematography gloriously shot by Janusz Kaminski and used magnificently whether it be its tinted imagery of the English countryside or the brutality of the war and No Man's Land. And as you'd expect, John Williams collaborates with Spielberg again to give a triumphant score that brings out the emotion within you during the film's sentimental moments from a talent on top of his game even as he reaches the age of 80. Lastly the cast all have their few moments to stand out as the film is mostly dominated by the horse. Irvine in his first major film stands his ground when it comes to the scenes with him and Joey sharing a tight-knit bond on screen that becomes believable to audiences through the emotion in his eyes. Mullan and Watson both give authoritative experience as Albert's parents, both knowing how treasured the horse is to their son but having to make the painful sacrifice in order to ensure their wellbeing. The rest of the cast are mostly underused though Hiddleston, Cumberbatch, Arestrup and Toby Kebbell prove to be the highlights out of the large ensemble.

Nowadays Spielberg does tend to have flaws in his films and not since 'Ryan' has he made a true classic with the slight exception of 'Munich' which was completely the opposite of any of his lighter work. The film starts slowly and takes time to pick up as it handles the understanding between Albert and Joey plus the farm's predicament and when the two are separated, you have to wait till the final half hour for Albert to appear again during the trenches segment, as the film chooses to focus on Joey's impact on other characters. Also after getting the fluency right with Schindler's List, he doesn't seem to do as well here despite an all European cast where French and German soldiers speak English with an English accent and this can confuse audiences over the dialect while the Devon accents are a little sloppy too. And while youngster Buckens has a nice role in the film, she sounds like a character from 'Allo Allo which isn't her fault but it makes her character come across as stereotypical like it was meant to be in the British sitcom.

VERDICT: It may not be his best effort, but Spielberg trots along with another en-powering (if slightly flawed) film that showcases World War One to modern audiences and will leave most of them emotional, as the relationship between man and animal is embraced in this tale of dedication and survival.

THE ARTIST LEADS THE WAY AT BAFTA WITH 12 NOMINATIONS

With the BAFTA awards only a few weeks away, I am looking forward to the opportunity of watching the action from the red carpet come February 12th. The film that dominates this year's list is the recent Golden Globe-winning success The Artist which leads the field with 12 nominations including Best Film.

Announced by Harry Potter star Daniel Radcliffe and actress Holliday Grainger, there was a highly respectable 11 nominations for the rather disappointing espionage thriller Tinker Tailor Soldier Spy and 9 nominations for Martin Scorsese's Hugo which despite nominating him in Best Director failed to be nodded for Best Film. Scorsese himself will receive this year's BAFTA Fellowship.

The Artist and Tinker Tailor are both joined by Alexander Payne's family dramedy The Descendants, The Help and crime thriller Drive in the Best Film category while Best British Film sees Tinker Tailor up against My Week with Marilyn, Shame, We Need to Talk About Kevin and Senna. Surprisingly no love for Harry Potter, War Horse or Tyrannosaur in that category. 

 Best Actor sees Golden Globe winners George Clooney (The Descendants) and Jean Dujardin (The Artist) go head to head with Brad Pitt (Moneyball), Gary Oldman (Tinker Tailor Soldier Spy) and Michael Fassbender (Shame). As for Best Actress Meryl Streep (The Iron Lady) as Margaret Thatcher goes up against Bérénice Bejo (The Artist), Michelle Williams (My Week with Marilyn), Tilda Swinton (We Need to Talk About Kevin) and Viola Davis (The Help)

Michel Hazanavicius (The Artist) competes against Scorsese (Hugo), Alfredson (Tinker Tailor Soldier Spy), Nicolas Winding Refn (Drive) and Lynne Ramsay (We Need to Talk About Kevin).

The full list of nominations are below.....

Best Film
The Artist
The Descendants
Drive
The Help
Tinker Tailor Soldier Spy

Outstanding British Film
My Week with Marilyn
Senna
Shame
Tinker Tailor Soldier Spy
We Need to Talk About Kevin

Outstanding Debut by a British Writer, Director or Producer
Richard Ayoade (Submarine)
Paddy Considine (Tyrannosaur)
Joe Cornish (Attack the Block)
Ralph Fiennes (Coriolanus)
Will Sharp (Black Pond)

Film Not in the English Language
Incendies
Pina
Potiche
A Separation
The Skin I Live In

Documentary
George Harrison: Living in the Material World
Project Nim
Senna

Animated Film
The Adventures of Tintin: The Secret of the Unicorn
Arthur Christmas
Rango

Director
Michel Hazanavicius (The Artist)
Nicolas Winding Refn (Drive)
Martin Scorsese (Hugo)
Tomas Alfredson (Tinker Tailor Soldier Spy)
Lynne Ramsay (We Need to Talk About Kevin)
 

Leading Actor
Brad Pitt (Moneyball)
Gary Oldman (Tinker Tailor Soldier Spy)
George Clooney (The Descendants)
Jean Dujardin (The Artist)
Michael Fassbender (Shame)

Leading Actress
Bérénice Bejo (The Artist)
Meryl Streep (The Iron Lady)
Michelle Williams (My Week with Marilyn)
Tilda Swinton (We Need to Talk About Kevin)
Viola Davis (The Help)

Supporting Actor
Christopher Plummer (Beginners)
Jim Broadbent (The Iron Lady)
Jonah Hill (Moneyball)
Kenneth Branagh (My Week with Marilyn)
Philip Seymour Hoffman (The Ides of March)

Supporting Actress
Carey Mulligan (Drive)
Jessica Chastain (The Help)
Judi Dench (My Week with Marilyn)
Melissa McCarthy (Bridesmaids)
Octavia Spencer (The Help)
  
Original Screenplay

The Artist
Bridesmaids
The Guard
The Iron Lady
Midnight in Paris

Adapted Screenplay
The Descendants
The Help
The Ides of March
Moneyball
Tinker Tailor Soldier Spy

Original Music
The Artist
The Girl with the Dragon Tattoo
Hugo
Tinker Tailor Soldier Spy
War Horse

Cinematography
The Artist
The Girl with the Dragon Tattoo
Hugo
Tinker Tailor Soldier Spy
War Horse

Editing
The Artist
Drive
Hugo
Senna
Tinker Tailor Solider Spy

Production Design
The Artist
Harry Potter and the Deathly Hallows - Part 2
Hugo
Tinker Tailor Soldier Spy
War Horse

Costume Design
The Artist
Hugo
Jane Eyre
My Week with Marilyn
Tinker Tailor Soldier Spy

Make Up & Hair
The Artist
Harry Potter and the Deathly Hallows - Part 2
Hugo
The Iron Lady
My Week with Marilyn

Sound
The Artist
Harry Potter and the Deathly Hallows - Part 2
Hugo
Tinker Tailor Soldier Spy
War Horse

Special Visual Effects
The Adventures of Tintin: The Secret of the Unicorn
Harry Potter and the Deathly Hallows - Part 2
Hugo
Rise of the Planet of the Apes
War Horse

Short Animation
Abuelas
Bobby Yeah
A Morning Stroll

Short Film
Chalk
Mwansa the Great
Only Sound Remains
Pitch Black Heist
Two and Two

Orange Rising Star Award
Adam Deacon
Chris Hemsworth
Tom Hiddleston
Chris O'Dowd
Eddie Redmayne

BAFTA Fellowship
Martin Scorsese

The BAFTA Film Awards 2012 will be hosted by Stephen Fry from the Royal Opera House in London on Sunday, February 12. Look out for me and my dad amongst the crowd of people should we succeed in getting a wristband....

THE IRON LADY (2011) - 3 STARS

"With all due respect sir, I have done battle, every single day of my life."

DIRECTOR: Phyllida LLOYD

STARRING: Meryl STREEP, Jim BROADBENT, Olivia COLMAN

Life hasn't been easy for me in the past 18 months and some of that is down to the struggling times myself and millions of Britons are living in under the current government. So I was keen to learn more about the last time Great Britain was in a similar predicament and decided to see how this biopic would depict one of our greatest, if controversial leaders on the big screen. Margaret Thatcher held her own as a female activist looking to overcome power and sexism in order to lead her country and for twelve years, she had her fair share of supporters and haters. Unfortunately this particular depiction doesn't quite capture the essence of Thatcher's reign and instead focuses mostly on her declining health and flashbacks of her time in charge though a commanding performance from Meryl Streep saves it from being completely unsatisfactory....

Told through three different periods, we see an aging, dementia-suffering Margaret Thatcher (Streep) in 2003 struggling to remember that her devoted husband Dennis (Broadbent) is dead as she constantly sees him as an imaginary figure much to the concern of her daughter Carol (Colman). It is that segment where Thatcher recalls her life in politics as she firstly flashes back to the 1950s when we see her as a young but determined greengrocer's daughter (Alexandra Roach) who ignores the taunts from male adversaries and decides to run for MP for her local town before her step-up to the Houses of Parliament. The other significant period focuses on her election as prime minister in the late 1970s as she stamps her authority on the various problems which Britain finds itself in during the 1980s as she tackles the rise of unemployment leading to mass protests, narrowly survives an IRA bomb attack at the Brighton hotel which she and Dennis stayed in and battling with Argentina over the ownership of the Falklands War. The end of her reign effectively sends her into exile as the senile Thatcher struggles to overcome regret and dismay with the way her life turned out....

Rarely do I choose to show my criticism for a film BEFORE praising it which is what I want to address with The Iron Lady's problems. What could have been a true political biopic like Milk (2008) instead becomes a disjointed and contrived narrative which Lloyd fails to steady even with a talented writer in Abi Morgan (who recently co-wrote the stunning Shame) whose screenplay seems to move all over the place when it comes to balancing out the three different time periods. It mostly chooses to focus on Thatcher in her declining health which is intriguing to watch but it is no surprise why companions of hers have been offended by the way she is portrayed as a woman who has gone mad and continues to imagine her husband Dennis still being alive. Cynical is definitely a word to describe its focus on her in that setting and the hallucinations of Dennis appearing in Maggie's mind get tiresome after a while. From then on, we see Thatcher as a young woman, then back to being old, then being in her prime, back to young, back to old, it's all very confusing for those who want to know more about Thatcher in a big way but Lloyd doesn't really allow the film to flow properly through the quick editing that rushes through too many scenes. More crucially though all the key aspects of Thatcher's political career and the legacy she had in office is only mentioned in snippets with old newsreel footage being the only visual evidence of what Britain went through during her tenure. So if you're wanting to see how the miner's strikes, and the unemployment and other significant events in her reign, then you won't find it here as historical inaccuracies also add to this film's problems. We don't even get to hear her say her infamous line "The Lady is not for turning!".

However Lloyd can at least garner some credit for making a more stylish and mature film compared to her colourful but silly musical Mamma Mia that doesn't overpraise Thatcher nor does it really criticise her tenure though the experienced star of Mia is the one who manages to carry this film throughout. Similarly to Clint Eastwood's Invictus with Morgan Freeman playing Nelson Mandela, this is the role many people had waited for Meryl Streep to play and it is easy to see that the film would have really struggled completely without her. She all but submerges herself in the character of Thatcher with an eerily accurate similarity in terms of facial appearance (all down to the cleverly detailed makeup that captures her looks) and also shows her vulnerabilities whether it be as a wife, as Prime Minister or in her senile state. The tough as nails expression and steely personality is also conveyed by Streep showing the authoritative stature of Thatcher and it's no surprise that she currently leads the way in the Oscar race as she looks to win for the third time. There are enough scenes in this film to help her win anyway. Her supporting cast has enough talent to give the film some further versatility with Broadbent engaging as Dennis while Colman, Roach, Anthony Head and Richard E. Grant add some experience to the film though sadly the latter two are underused by Lloyd in favour of the show-stopping Streep who dominates every scene she is in. Of course, like Mamma Mia, Lloyd does a satisfactory job of using her production value well with the costumes proving accurate for their time and the realistic makeup used on Streep also beautifully submerged.

VERDICT: One simply has to say this was a missed opportunity by Lloyd to make a truly starting biopic of one of Britains' greatest figures with a disorganised narrative proving its downfall through Streep's excellent performance stops the film from disappointing.

THE ARTIST (2011) - 4 1/2 STARS

DIRECTOR: MICHEL HAZANAVICIUS

STARRING: JEAN DUJARDIN, BERENICE BEJO, JOHN GOODMAN

With awards season starting to take shape, the result of last night's Golden Globes brought good news for one of the best films of the year as the Harvey Weinstein produced hit The Artist scooped three awards including the Comedy/Musical Picture award. For many years , silent cinema seemed to have disappeared altogether especially when talking picture arrived back in the late 1920s and had since become a phenomenon in film since then. But this dazzling production takes us back to that time where action speaking louder then words was the best form of film-making only for the arrival of sound to effectively end silent cinema forever. Or so it seemed. After Martin Scorsese delivered his love letter to cinema with Hugo late last year, audiences were mesmerised by its stunning flashback to old cinema but now has been unseated as the true classical/modern day film which could secure itself Oscar glory come next month....

In Hollywood, 1927, silent film star George Valentin (Dujardin) relishes in his success as his latest silent film becomes another well-received hit (with a little help from his pet dog Uggie). After a chance encounter with Valentin, a pretty street girl named Peppy Miller (Bejo) manages to land a dancing part in his newest film and together, an undeniable spark develops between them. But over the next few years, silent movies fade into obscurity as talking pictures start to come around but Valentin tries to shrug it off believing it'll never last. However when he struggles for work he begins to lose everything including his wife who walks out on him and his prized possessions which he is forced to sell. Peppy on the other hand becomes the talk of Hollywood as her charisma and beauty helps her become a leading lady in various films though at the same time she tries to show her support towards George. But as his life continues to spiral out of control, he questions whether he has a purpose to carry on living but Peppy seeks to help him get back on track before it's too late.

The Weinstein's look to have another Oscar juggernaut on their hands after the success of another heartwarming film last year, The King's Speech and it is to the great credit of director/writer Michel Hazanavicius that he has worked on an immaculate and well-detailed film. In a time when we have 3D films, The Artist manages to overshadow most of the big blockbusters and allows us to feel like being part of another era of cinema. The story-line which relies on its silent roots has many moments of emotion and tension all delicately laid out by Hazanavicius's sparkling screenplay. It may lack dialogue but as they say once again, action speaks louder then words. 'Artistically' the film delivers when it comes to its depiction of the classical era of Hollywood with the cinematography beautifully filmed in black and white while the costumes are lavishing and accurate for the period its set in. Significantly though it is the musical score by Ludovic Bource which becomes dependent throughout as its usage in key scenes whether it be subtle or dramatic, adds the delightful touch to the film's magic and should hopefully secure an Oscar win in its category. Speaking of award potential, leading star Dujardin absorbs a lot of all round energy to his role thanks to his charisma and body language depicting a man whose sparkling career starts to fall apart. Looking at him on screen shows reminiscence of Gene Kelly in his embodiment of an actor in classical Hollywood and the comparisons are unsurprising. One key moment in the film showing Dujardin's dramatic side is the discomfort George shows in his nightmare scene when real sounds are heard. His beautiful co-star Bejo (who is also Hazanavicius's real life partner) gives the charm and freshness as Peppy's emergence in Hollywood is visualised from her first dance audition to the clever montage later in the film showing her rise into leading roles at George's expense. Clearly Bejo enjoys her role giving enough heart to provide the film's romance which doesn't go overboard but instead shows a more subtle understanding about the differing lives she and George have. The support cast lend worthy support though it's Goodman and James Cromwell who stand out lending peerless experience to the film while it's also nice to see 80s/90s actress Penelope Ann Miller making a comeback here as George's irritated wife. But the real scene-stealer of the film is George's canine pet Uggie who sparkles and puts a smile on everyone's face whenever he's on screen whether he be playing dead or covering his head with his paws.

What stopped me from truly loving the film more was its slight flaw in its storytelling and its usage of sub-titles. A couple of scenes left me a little confused over what certain characters were saying and what they had to offer with the film's story, and it seems Hazanavicius chooses to use dialogue only at the key points. The ending also feels a little rushed to the point where our character's fates seem to wrap up too quickly and you can't help but want more from the story though it does lead to a satisfying (and unexpected conclusion).

VERDICT: A charming and artistic homage to silent era cinema, The Artist dazzles its way towards potential Oscar glory with a heartwarming story supported by two terrific lead performances (and a scene-stealing dog!) that will delight everyone and leave many....speechless!

THE ARTIST AND THE DESCENDANTS WIN AT GOLDEN GLOBES!

After months and months of impatient waiting, awards season has finally lifted off as

The Artist and The Descendants were the big film winners at the 2012 Golden Globe Awards.

The Artist, a silent Hollywood dramedy set in the late 1920s earned three awards including the coveted Best Picture Comedy/Musical (beating off the likes of Bridesmaids and Midnight In Paris) as well as a Best Actor Comedy/Musical win for leading actor Jean Dujardin as the silent film actor whose career falls apart. Its composer Ludovic Bource also won the Best Original Score gong ahead of John Williams.
 

The Descendants (due out next month) received two awards including a Best Actor (Drama) award for its handsome leading man George Clooney (beating off his pal Brad Pitt plus Leonardo Di-Caprio and Michael Fassbender) while the film itself took home the accolade for Best Picture (Drama) ahead of The Help, Hugo and War Horse.

Meryl Streep was honoured with her 8th Golden Globe win in Best Actress (Drama) award for her role as British prime-minister Margaret Thatcher beating off Viola Davis, Rooney Mara and Tilda Swinton, while Michelle Williams received the prize for 'Best Actress (Musical or Comedy)' as Hollywood beauty Marilyn Monroe in My Week with Marilyn.

The Help's Octavia Spencer was awarded 'Best Supporting Actress' ahead of her co-star Jessica Chastain, while veteran actor Christopher Plummer earned Best Supporting Actor for his role in Beginners beating the likes of Albert Brooks and Kenneth Branagh.

Martin Scorsese upset fellow nominees such as Michael Hazanavicius and Woody Allen in the 'Best Director' category for his direction of fantasy adventure Hugo though Allen surprisingly won for his screenplay for Midnight In Paris. Another directing legend Steven Spielberg won for his animated film The Adventures of Tintin while pop queen Madonna secured the Best Original Song award for her song Masterpiece in the historical drama W.E. Morgan Freeman received the Cecille B.Demille award for his contribution to cinema.

The show itself proved a success though returning host Ricky Gervais failed to provide many shocks to his hosting unlike the previous two years though he did ridicule the likes of Johnny Depp, Kim Kardashian, Justin Bieber and Madonna. His performance receiving mixed reviews overall.

The full list of Golden Globe winners are below....

BEST PICTURE (DRAMA): THE DESCENDANTS

BEST PICTURE (COMEDY/MUSICAL): THE ARTIST

BEST DIRECTOR: MARTIN SCORSESE - HUGO

BEST ACTOR (DRAMA): GEORGE CLOONEY - THE DESCENDANTS

BEST ACTOR (COMEDY/MUSICAL): JEAN DUJARDIN - THE ARTIST

BEST ACTRESS (DRAMA): MERYL STREEP - THE IRON LADY

BEST ACTRESS (COMEDY/MUSICAL): MICHELLE WILLIAMS - MY WEEK WITH MARILYN

BEST SUPPORTING ACTOR: CHRISTOPHER PLUMMER - BEGINNERS

BEST SUPPORTING ACTRESS: OCTAVIA SPENCER - THE HELP

BEST SCREENPLAY: MIDNIGHT IN PARIS

BEST ORIGINAL SCORE: THE ARTIST

BEST ORIGINAL SONG: W.E - MASTERPIECE

BEST ANIMATED FILM: THE ADVENTURES OF TIN TIN: THE SECRET OF THE UNICORN

BEST FOREIGN LANGUAGE FILM: A SEPARATION (IRAN)

Awards race continues to hot up soon with the BAFTA nominations announced tomorrow with the Oscar nominations revealed next Tuesday, the heat is on!

SHAME (2011) - 4 STARS

"We're not bad people. We just come from a bad place."

Director: Steve MCQUEEN

Starring: Michael FASSBENDER, Carey MULLIGAN

Back in 2008, Steve McQueen (the director, not the actor) won the Carl Foreman award for Best Newcomer at the BAFTAs for his creation of the IRA drama Hunger (beating off competition from my previous employer's film Of Time and the City amongst others). Though it's been three years since his achievement, he finally returns to the limelight with his latest yet equally brutal follow-up film; Shame. Whilst Hunger looked at the true story of IRA prisoners going on a hunger strike, Shame goes even deeper with its exploration of sex addiction shown as realistic as you can get with a film about sex thanks to a career defining (and brave) performance from his collaborating actor Michael Fassbender. Together the pair create another tense and troubling film that is sure to shock audiences with its amount of sex and nudity but also proves that McQueen isn't afraid to hold back when it comes to gritty film-making....

In New York, businessman Brandon (Fassbender) lives alone in his apartment  and tries to make himself seem like a normal man with a successful office job. But at the same time, he has one major flaw which separates him from other typical men. He has an uncontrollable sex addiction which takes over his life whether it be sexual encounters with various women or using his work computer to look at Internet porn. Although he mixes in with his colleagues at work, it is clear that sex is his main desire until things are complicated by the unexpected arrival of his disruptive sister Sissy (Mulligan). Though she has talent as a singer, her flirty personality (particularly towards Brandon's boss) distracts her brother during his complicated lifestyle. He grows increasingly frustrated with her to the point where hints of their traumatic childhood are brought up as his paranoia follows him around during his pursuit of other women. But it is clear that intense 'shame' over his lifestyle starts to make him more guilty as he struggles to overcome his addiction knowing that if he doesn't, it could destroy him and maybe Sissy too....

There is no shame (excuse the pun) about what McQueen has created here with one of the most powerful films of the year, which is made even more ironic that it is actually a British production similarly to Lynne Ramsay's We Need to Talk About Kevin, similarly as gritty and harrowing. Though the story isn't really detailed, Shame is more a fascinating character study of a man who seeks to discover genuine human affection, but is more distracted by his own sexual predatory. Yet when we see him at work, he seems like your average workaholic. From beginning to end, Brandon is the main focus of the film and throughout the camera is always on Michael Fassbender whether he be fully clothed heading to work or stark naked during sexual activity. Even seeing him wander around his apartment in the nude just to use the toilet, proves that McQueen is willing to go far with the explicitness of Brandon's sexual obsession especially his sex scenes which are quite gratifying on screen. In other words, sex is as important to this film as drugs was to Danny Boyle's Trainspotting (1996). The searing musical score by Harry Escott only heightens the intensity of Brandon's quest for sex with the best example being his focus on a pretty subway passenger who catches his attention (a similar sequence happens in the film's open-minded ending). Undoubtedly Fassbender is stunning as Brandon whose struggle throughout is torturous to watch with the Irish/German actor conveying the voyeuristic urge and raw intensity to give a pitch-perfect performance which doesn't necessarily require him to speak much throughout yet showing the bravery of his role when it comes to stripping off. After all that, an Oscar nomination surely beckons for him. Mulligan doesn't quite match up to the standards of her co-star but still submerges herself with a difficult role of a woman not knowing how to deal with her problems (though like Fassbender her first scene requires her to be naked). Her scenes with him are at times bitter including a moment where they watch television together, showcasing the talent of two underrated actors on top of their game and she even gets a chance to shine on the musical front with a beautifully performed rendition of Frank Sinatra's  "New York, New York", showing that acting isn't her only talent on screen.

Though I was mesmerised by the film's audacity to shock, this is not the best one to watch in the company of people especially in a crowded cinema (poor me!). While the gratuitous sex/nudity is important to the film's story, it sometimes feels forced for the sake of it and most audiences will probably be put off by the constant imagery of Brandon walking around naked which can sometimes distract them from understanding the film. Added to that, McQueen and fellow writer Abi Morgan clearly aim an incestuous hint to Brandon and Sissy's relationship which comes across a little uncomfortable particularly the awkwardness of her first scene with her brother which most normal siblings would avoid like the plague. Their past is only mentioned in snippets and while it is best to have an open mind with some details, you only end up wanting to know more mostly when it comes to how Brandon's sex addiction first started.

VERDICT: Masterful in its intimate character study, Shame is another brutal production by McQueen which shows one man's trouble with sex addiction (maybe a little too much for some people) but its excellent performances from Fassbender and Mulligan continue to keep British cinema delivering when it comes to raw storytelling on screen.

CRAIG'S FILM OF THE YEAR AWARDS 2011 PART 2 (INC. TOP 10)

Following on from yesterday's post which contained various awards (mostly technical), it is now time to get serious with my awards for screenplay, directing, acting and yes, the Top 10 films of the year! Most intriguing....

BEST ORIGINAL SCREENPLAY

 

THE KING'S SPEECH

OTHER CONTENDERS

• BLACK SWAN
• BRIDESMAIDS
• THE FIGHTER
• TYRANNOSAUR
• WARRIOR

BEST ADAPTED SCREENPLAY

THE HELP

OTHER CONTENDERS

• THE ADVENTURES OF TIN TIN: THE SECRET OF THE UNICORN
• HARRY POTTER AND THE DEATHLY HALLOWS PART TWO
• THE INBETWEENERS MOVIE
• MONEYBALL
• WE NEED TO TALK ABOUT KEVIN

BEST DIRECTOR

TOM HOOPER - THE KING'S SPEECH

OTHER CONTENDERS

• DARREN ARONOFSKY - BLACK SWAN
• PADDY CONSIDINE - TYRANNOSAUR
• MARTIN SCORSESE - HUGO
• TATE TAYLOR - THE HELP
• DAVID YATES - HARRY POTTER AND THE DEATHLY HALLOWS PART TWO

BEST SUPPORTING ACTRESS

JESSICA CHASTAIN (CELIA FOOTE) - THE HELP

OTHER CONTENDERS

• HELENA BONHAM CARTER - THE KING'S SPEECH
• BRYCE DALLAS HOWARD - THE HELP
• MELISSA LEO - THE FIGHTER
• OCTAVIA SPENCER - THE HELP
• HAILEE STEINFELD - TRUE GRIT
  

BEST SUPPORTING ACTOR

GEOFFREY RUSH (LIONEL LOGUE) - THE KING'S SPEECH

OTHER CONTENDERS 

• CHRISTIAN BALE - THE FIGHTER
• KENNETH BRANAGH - MY WEEK WITH MARILYN
• BEN KINGSLEY - HUGO
• ERZA MILLER - WE NEED TO TALK ABOUT KEVIN
• NICK NOLTE - WARRIOR
  

BEST ACTRESS

*TIE*

NATALIE PORTMAN (NINA SAYERS) - BLACK SWAN

ROONEY MARA (LISBETH SALANDER) - THE GIRL WITH THE DRAGON TATTOO

OTHER CONTENDERS

• OLIVIA COLMAN - TYRANNOSAUR
• VIOLA DAVIS - THE HELP
• TILDA SWINTON - WE NEED TO TALK ABOUT KEVIN
• MICHELLE WILLIAMS - MY WEEK WITH MARILYN
  

 BEST ACTOR

COLIN FIRTH (KING GEORGE VI) - THE KING'S SPEECH

OTHER CONTENDERS

• JAMES FRANCO - 127 HOURS
• TOM HARDY - WARRIOR
• PETER MULLAN - TYRANNOSAUR
• GARY OLDMAN - TINKER TAILOR SOLDIER SPY
• BRAD PITT - MONEYBALL

FILM OF THE YEAR

#10. THE INBETWEENERS MOVIE

Harry Potter wasn't the only spectacle wearing lad to say farewell to us this summer, as the not-so-magical Will McKenzie and his 'friends' Simon, Jay and Neil set off on a lad's holiday to Malia where their awkward problems continued to trouble them in the big screen version of the popular Channel 4 series. However even when it came to sharing a coach with loud Burnley fans, staying in a crap hotel, performing one of the most cringeworthy dances and being terrorised by kids, bullies and ants, they still stuck together as mates and eventually found love with four holidaying ladies (after 3 series Simon FINALLY realised that Carli wasn't his true love). But will we see our four benders on screen ever again?

#09. RISE OF THE PLANET OF THE APES

One of the surprise hits of the year came from this entertaining prequel to the original Planet of the Apes franchise looking at how the apes would eventually overpower Earth. A decent cast including James Franco, Frieda Pinto and Harry Potter's Tom Felton was overshadowed by Andy Serkis's insecure portrayal of Caesar which gained plaudits from many critics and audiences. Like Gollum and Kong before him, Serkis and CGI had once again combined to create a visually outstanding character who looks and moves like a real ape as we become attached to him, take pity on him and eventually cheer him on when he and his fellow apes cause havoc in San Francisco. Looking forward to the sequel already!

#08. HUGO

Moving away from his usual gritty work, Martin Scorsese wowed us with his visually stunning tale of a young boy hiding away in a train station who tries to find a hidden message from his father and soon discovers that it all links to classic cinema from his involvement with a former director. From beginning to end, Scorsese takes us on a magical adventure as we left in awe of the mesmerising detail put into early 20th century France (looking even better in 3D) as well as being treated to his splendid homage to the early rise of film. Impeccable cast, breathtaking visuals and a love letter to true film buffs only proves why Oscar will love it. Most will think "Scorsese doing a family film"?! Yes but didn't he do it well?

#07. THE FIGHTER

The first of two sports films involving family rivalry on this list, David O'Russell's bruising biopic about boxer Mickey Ward's desire to be a contender focuses more on his relationship with his interfering family including drug-addicted former fighter Dickie and his domineering mother Alice (Oscar-winning roles from Christian Bale and Melissa Leo) to hold him back. The hardships of family loyalty are displayed strongly here as Mickey looks to change his routine but faces being ridiculed for it, and it is to the credit of Mark Wahlberg to put a lot into his character (having also produced the film) as we realise this ain't like Rocky. It's rough and harsh with the way we view the characters especially Dickie, but it stays faithful to its true-life factor and excels as a gritty sports film with a flawed athlete.

#06. THE HELP

A celebrated film from this year, Tate Taylor's charming and at times harsh film showed us the African-American maid's perspective on their treatment prior to the Civil Rights movement with a white journalist deciding to tell their story. Though mostly female-dominated, the film does feature a fabulous female ensemble with the underrated Emma Stone overshadowed by her sublime co-stars including the subtle Viola Davis, the snappy Octavia Spencer, the adorable Jessica Chastain and the despicable Bryce Dallas Howard. The racial backdrop of the film's setting proves how cruel society could be back then, though thankfully there are moments to cheer especially for our African American heroines, but for one thing you won't be eating chocolate pie anytime soon....

#05. WARRIOR

Yes you'll be thinking this is a bit like deja-vu, a sports film about a broken family on this list. But whilst The Fighter was able to show a more loyal family bond between its characters, Warrior gives a more bleaker look at how family ties can't always be mended. Gareth O'Connor's severely underrated drama about two brothers who find themselves competing in a UFC tournament to try and change their lives via a huge cash prize was considered a box-office disappointment, but to me it was one of the unlikely triumphs of the year. Towering performances from pre-Bane Tom Hardy, Joel Edgerton and the superb Nick Nolte provide the emotional bitterness of their characters while the bone-crunching fights feel, look and sound realistic. A knockout film which deserves more attention and hopefully will win more people over.

#04. THE ADVENTURES OF TIN TIN: THE SECRET OF THE UNICORN

Though this didn't get more attention in my awards section, Tin Tin was always going to rank high on the list as Steven Spielberg and Peter Jackson worked long and hard to create another unlikely hit from 2011. Slickly adapted from the children's comic book, we follow the young adventurer and his pet dog in their quest to find treasure, allowing us to be treated to a rollicking action-adventure combined with stunning imagery that would make the Indiana Jones franchise proud. Along with its colourful characters (voiced by some big names including Andy Serkis and Daniel Craig) and witty writing as well, it kept me entertained throughout and is probably one of the most epic Animated films you'll ever see. It was the motorcycle chase sequence which won me over, the perfect action scene that leaves you jaw-dropped throughout that exciting five minutes. A new franchise is born....

#03. BLACK SWAN

A luscious and deceitful film, Aronofsky's psychological thriller makes it into my Top 3, in probably one of the darkest films I've seen in my filmography. The story of a ballerina who lands the lead role in Swan Lake only to lose her mind over her commitment to the role required a physically draining performance from its leading lady Natalie Portman who deservedly scooped the Best Actress Oscar for her role. Its focus on some of the situations her character finds herself in, is at times disturbing (cuticles and split toenails anyone?) and leaves you aghast at how much a role can affect a person. The seductive Mila Kunis adds spice to the film and there's no denying the hotness of her and Portman's sex scene, which only adds to the craziness of it all. But it's the Swan Lake performance at the end which provides the manipulative finale as Nina's madness finally gets the better of her, a marvellous end to one of 2011's best films.

#02. HARRY POTTER AND THE DEATHLY HALLOWS PART TWO

Despite my passion for the climatic finale, Deathly Hallows Part Two just missed out on number 1, as one of the most celebrated franchises came to a thunderous conclusion. After seven films of magical adventure, the series came to an end with Harry finally overcoming his nemesis Lord Voldemort (with a little help from Neville Longbottom) and saving Hogwarts from destruction. David Yates deserves credit for taking charge of the final few films and adding a dark tone to it, with Deathly Hallows Part Two a fitting way to finish the series with action, romance and tragedy all mixed in to create a fitting finale with key characters killed off in the process. Yes it may not have been quite faithful to the novel but it still kept its audiences entertained with detail on crucial scenes particularly Snape's memories and the epilogue where we see Harry and co. as older people. Not to mention that the franchise did well to attract so many talented actors to produce probably one of the best ensembles ever placed in a franchise. Goodbye Harry, Ron and Hermione, you will be missed by many!

#01. THE KING'S SPEECH

My winner of Film of the Year goes to a film which had plenty of momentum built around it particularly as an Oscar contender. Considering that I shared a cinema that was full of old people, I expected the target audience to be of the elderly variety. But to my surprise, I adored the film for what it sent out to do, to inspire people like myself. The triumphant story of King George VI's struggle to overcome a stammer, charmed audiences with its sublime performances from Colin Firth, Geoffrey Rush and Helena Bonham Carter (and many more), its witty script containing sadness and humour and the attention to detail taking us back to the 1930s of Britain all thanks to unknown director Tom Hooper. Firth especially commands the film with his impeccable portrayal which deservedly won him the Best Actor Oscar though Rush's performance is just as important. The King is someone to sympathise throughout, and we support him especially in his speech sessions and the scene where his brother Albert taunts him. But when faced with responsibility, it is the speech scene towards the film's ending (one of the best scenes of the year particularly for its use of Beethoven's haunting Speaking Unto Nations) which puts our King in a daunting position as he tries to assure his people prior to the arrival of World War II yet pulls it off successfully. A b-b-b-brilliant film that deserves its recognition, and keeps British cinema on top of its game.

Thank you all for reading this, have a Happy New Year and good luck in 2012!