Oscar Nominee #4: The Kids Are All Right

This Sundance smash was always guaranteed Oscar recognition, what with its superb central performances from Julianne Moore, Annette Bening and Mark Ruffalo. But more that this, its audacious depiction of a lesbian couple wasn't so much brave, but necessary to make the film what it was. Again, just like The Fighter, it could be claimed that this more an Actor's film than most (especially considering Lisa Cholodenko did not receive a nomination in the Best Director category), but this could have been one hell of a dark horse had Winter's Bone not been included. As it remains, if The Kids Are All Right's inclusion simply raises awareness of this enjoyable, character-driven film, then so be it.

Would it have been nominated before the 10 nomination-rule?

This is difficult – but I would say no. This does fit into the genre of comedy more than any of the other films, and very rarely does a comedy get nominated let alone win Best Picture. However, this does have its fair share of drama, which cancels some of the comic moments out. The only winning film that springs into mind when thinking about The Kid's Are All Right is Terms of Endearment, and on retrospect that wasn't that great a win. It is an incredibly strong race this year and this film is more likely to get noticed in the acting department

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Best Picture Nominee #3: Inception

 

I shall warn that when it comes to Christopher Nolan, I am just a little bit biased. In my eyes, he is the most talented filmmaker around today; his work is always insanely original (yes, even the Batman films) and his attention to detail is second to none. With that out the way, it’ll come as no surprise that I thought Inception was the best film of 2010 (one film came very close to rivaling it). Easily one of his best, it proved that blockbusters with huge-scale budgets like this can be intellectual and ridiculously rewarding. The only film that wasn’t a remake or a sequel in the top 10 highest grossing films of the year, for that alone Nolan deserved recognition from the Academy. But yet, even though nominated here and in the Best Original Screenplay category, he did not receive a nomination for his direction. Seems like some people are still prejudiced against summer blockbusters…

Would it have been nominated before the 10 nomination-rule?

In a word, no. In fact, it is quite rare that a film as big as this that was not directed by someone who has previously been Oscar nominated for Best Director gets a nomination in the first place (James Cameron got ultra-noms for Avatar due to Titanic). Inception is probably the most original offering in this years line-up, but I think its recognition is unfortunately a case of the Academy attempting to appeal to a mainstream audience – still it is nice that it has been nominated. It is strongly rumoured that the 10-nomination rule was brought about due to The Dark Knight being overlooked in 2009, but if you ask me all of Christopher Nolan''s previous films have been robbed of a nomination. However, people who liked Inception loved it a lot, so if enough members of the Academy praised Nolan's modern classic, then there could be a big (welcome) surprise on 27^th February. Then again, probably not

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Best Picture Nominee #2: The Fighter

 Back in '77, Rocky won in the Academy Award ring against some classic heavyweights - and so with The Fighter being billed as ‘the greatest boxing movie since Rocky’ (completely forgetting Raging Bull in the process), there is pressure on David O. Russell’s effort. The truth is that The Fighter is really great, a true 'performance' film. This didn’t prevent O. Russell from securing an Oscar nomination for his deft direction – arguably, in what should have been Chris Nolan’s nomination – but somehow did prevent Mark Wahlberg, the film’s heart, from getting noticed in the Best Actor category. With Christian Bale nominated (and a shoo in), aswell as former-nominees Melissa Leo and Amy Adams, The Fighter will definitely scoop up some awards

Would it have been nominated before the 10-nomination rule?

Hell yeah, the Academy loves a clichéd rags-to-riches story like this. That isn’t to detract from the film; it’s one of the more charming efforts on this year's list and fully deserves its nomination. It’s chance here is better than most. Like Micky Ward himself, this is the underdog, albeit an obvious one.

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Best Picture Nominee #1: Black Swan

 

 
 I liked Black Swan. It made a name for itself way before the Oscar race due to the festival circuit (much like The King’s Speech), but has caused quite a bit of controversy. Billed as Darren Aronofsky’s companion piece to The Wrestler, although Black Swan followed a much different route, the ultimate destination was pretty exact. Great performances, obviously from Natalie Portman, but there is great support (Barbara Hershey, to name one) – and Aronofsky’s direction rightfully earned him his first nom.

Would it have been nominated before the 10 nomination-rule?

Almost certainly – the Academy likes one ‘different’ film, and this is certainly not the same as any other film in the list. It steers very close to horror territory at times, and there are some ultra-surreal set pieces that could – and probably will - affect its eventual chances. Still, ballet hasn’t been captured on camera like this before and Natalie Portman’s very possible Best Actress win will enhance its chances

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True Grit

2010, 15, Directed by Ethan Coen, Joel Coen

Starring: Hailee Steinfeld, Jeff Bridges, Matt Damon, Josh Brolin

The first thing you should know about the Coen Brothers latest is that this is not a remake of John Wayne’s 1969 classic of the same name (for which he won his only Oscar), but an adaptation of the Charles Portis novel. You should also know that The Duke’s role has been filled by the sure shoes of one of the finest actors around today: The Dude himself, Jeff Bridges. On usual fine form as bedraggled marshal Rooster Cogburn, he is Crazy Heart’s wheezy Bad Blake with an eye-patch. The story for those who aren’t familiar is based around 14-year-old Mattie Ross who requests the help of Cogburn to track down John Chaney, the man responsible for her father’s death. The rest is cinematic magic of the purest form, sprinkled with a dash of Coen. What is striking about True Grit is not only Roger Deakins’ dazzling cinematography, resulting in your eyes stretching to the furthest stretch of the surrounding Arkansas enclosure, but the fact that this is somewhat lacking in Coen-esque traits; that’s not to say their famous flair does not present itself – their script is consumed with deliciously-delivered dialogue and characterisation fresh from their universe (look no further than an early scene involving Mattie and a lawyer – it is like a Western version of a scene from Fargo), and there are visual elements which are unmistakeably their work (three words: bear on horseback). 

The fact that Ethan and Joel could mould their source material so seamlessly speaks volumes about their abilities as filmmakers, officially part of the elite. If No Country for Old Men was their revisionist homage to the Western genre that rarely circulates these days, True Grit is a picture in which homage’s will be made, seriously standing shoulder to shoulder with some of those classic Wayne films. The casting is near perfect, with Bridges’ nonchalant drawl and Matt Damon’s Texas Ranger LaBeouf convincing and impressing – but it is Hailee Steinfeld’s debut that takes things to the next level and blows away anything in sight. It is hard to recall a child performance so pitch-perfect, and the fact that she was notched into the Best Supporting Actress category by the Academy is an injustice to her beautiful work here. The last thing you should know about True Grit is that it is true class. It seems the Coen Brothers are unstoppable. But really, who would want to stop them?

♥ ♥ ♥ ♥ ♥

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127 Hours

2010, 15, Directed by Danny Boyle

Starring: James Franco, Amber Tamblyn, Kate Mara, Clémence Poésy

Danny Boyle’s latest focuses on the biographical story of Aron Ralston, a mountain climber who found himself in an unfortunate situation when a boulder trapped his arm in an isolated canyon in Utah for over 5 days. James Franco plays Ralston, a daunting job considering he is on screen for pretty much the entire film. To say he pulls it off is an understatement; he not only carries the whole film, he captures the pain, frustration and insanity Ralston experienced with what seems like ease, completely justifying his Oscar nomination. However, although Franco’s performance, combined with the shimmering cinematography creates a watchable 90 minutes out of what could grow tiresome in another craftsman’s hands, Danny Boyle’s direction does verge on the irritating. Acting as a symbol of Ralston’s psyche, the stylistic element of the camera relies too much on the emphasis of quirkiness. With the frenetic split screens and jump cuts, as 127 Hours commences it feels like an advert for an energy drink.

By the time the film reaches its inevitable destination - in case you don’t know, no spoilers here - against all the odds, an anti-climactic sense overbears. The overriding feeling though is a positive one: optimism. Ralston’s story (and the fact he is still alive to tell the tale) speaks for itself, and although Boyle’s picture is nowhere near his greatest, it ultimately succeeds in enlightening you on the bittersweet story with uplifting panache, but could benefit from a little more punch. 

3/5

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The Fountain

2007, 12, Directed by Darren Aronofsky

Starring: Hugh Jackman, Rachel Weisz, Ellen Burstyn, Mark Margolis

To retell the plot of The Fountain here would not spoil anything, but be insanely difficult. What is important to know is that this is clearly Darren Aronofsky on exploratory mind-bending form. For a film that spans over 1,000 years and flits back and forth in a manner as flippant as it wishes, The Fountain is clearly as ambitious as it is confusing. But this is the point. Once you can embrace this, the film becomes something – although frustrating – quite beautiful in its own way. It is exciting to observe something that can offer a scene fresh from a medieval feature, accompanied by an image laden with religious context and then a scene lifted from a character drama. The central performances from Hugh Jackman and Rachel Weisz (Aronosfky’s then-wife) assist in moulding this into engrossing stuff. Make no mistake, The Fountain is not for everyone - but it would have failed in its purpose if it was. You might think it a love/hate film – I did neither.

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