New Predictions

Recent viewing of Sweeney Todd gives me doubts of its Best Picture chances especially after the SAG absence. Which also leaves Johnny Depp out of the #1 spot. Into the Wild moves up as a serious threat to unseat No Country for Old Men as the Best Picture of the Year. The DGA's will put more into perspective.

Best Actress looks to be solid, the only question being will Cate Blanchett be nominated for Elizabeth: The Golden Age. There are many actresses fighting for that fifth spot: Amy Adams, Keira Knightley and Laura Linney being the likely ones.

Supporting actor seems locked and loaded. The question flying around is will Philip Seymour Hoffman make the cut? Sure looks like it at this point. But who will upset? Travolta, Lee Jones, Dano, Foster, Von Sydow? I don't know. It depends if No Country is as strong as it seems or if There Will Be Blood make the cut.

Supporting actress is wild for me. I have chosen to keep Saoirse Ronan off and keep Vanessa Redgrave in her place. I think she's more likely to show up especially after Ronan missing SAG which should have been an easy get.

The rest, you need to see: Here is the top 10 of each category.

Best Motion Picture

1. Atonement
2. No Country for Old Men
3. Into the Wild
4. The Diving Bell and the Butterfly
5. There Will Be Blood
6. Sweeney Todd: The Demon Barber of Fleet Street
7. Juno
8. American Gangster
9. Michael Clayton
10. The Great Debaters

Best Director

1. Joel Coen & Ethan Coen-No Country for Old Men
2. Joe Wright-Atonement
3. Sean Penn-Into the Wild
4. Julian Schnabel-The Diving Bell and the Butterfly
5. Sidney Lumet-Before the Devil Knows You’re Dead
6. Tim Burton-Sweeney Todd: The Demon Barber of Fleet Street
7. Paul Thomas Anderson-There Will Be Blood
8. Denzel Washington-The Great Debaters
9. Ridley Scott-American Gangster
10. Jason Reitman-Juno

Best Actor

1. Daniel Day-Lewis-There Will Be Blood
2. Johnny Depp-Sweeney Todd: The Demon Barber of Fleet Street
3. George Clooney-Michael Clayton
4. Emile Hirsch-Into the Wild
5. Viggo Mortensen-Eastern Promises
6. Denzel Washington-American Gangster
7. James McAvoy-Atonement
8. Ryan Gosling-Lars and the Real Girl
9. Josh Brolin-No Country for Old Men
10. Frank Langella-Starting Out in the Evening

Best Actress

1. Marion Cotillard-La Vie en Rose
2. Julie Christie-Away from Her
3. Ellen Page-Juno
4. Angelina Jolie-A Mighty Heart
5. Cate Blanchett-Elizabeth: The Golden Age
6. Laura Linney-The Savages
7. Keira Knightley-Atonement
8. Amy Adams-Enchanted
9. Helena Bonham Carter-Sweeney Todd: The Demon Barber of Fleet Street
10. Tang Wei-Lust, Caution

Best Supporting Actor

1. Javier Bardem-No Country for Old Men
2. Hal Holbrook-Into the Wild
3. Tom Wilkinson-Michael Clayton
4. Casey Affleck-The Assassination of Jesse James by the Coward Robert Ford
5. Philip Seymour Hoffman-Charlie Wilson’s War
6. Max Von Sydow-The Diving Bell and the Butterfly
7. Paul Dano-There Will Be Blood
8. Tommy Lee Jones-No Country for Old Men
9. Ben Foster-3:10 to Yuma
10. John Travolta-Hairspray

Best Supporting Actress

1. Amy Ryan-Gone Baby Gone
2. Cate Blanchett-I’m Not There
3. Catherine Keener-Into the Wild
4. Tilda Swinton-Michael Clayton
5. Vanessa Redgrave-Atonement
6. Saoirse Ronan-Atonement
7. Ruby Dee-American Gangster
8. Kelly MacDonald-No Country for Old Men
9. Marisa Tomei-Before the Devil Knows You’re Dead
10. Jennifer Jason Leigh-Margot at the Wedding

Best Original Screenplay

1. Juno
2. Ratatouille
3. Michael Clayton
4. Lars and the Real Girl
5. Before the Devil Knows You’re Dead
6. The Savages
7. Once
8. Knocked Up
9. American Gangster
10. I’m Not There

Best Adapted Screenplay

1. No Country for Old Men
2. Atonement
3. Into the WIld
4. The Diving Bell and the Butterfly
5. Charlie Wilson’s War
6. There Will Be Blood
7. The Kite Runner
8. Sweeney Todd: The Demon Barber of Fleet Street
9. Gone Baby Gone
10. Away from Her

2006 Davis Film Winners

Top 10 Films of 2006

1. Bobby (****)
2. Dreamgirls (****)
3. Little Miss Sunshine (****)
4. Little Children (****)
5. United 93 (****)
6. Apocalypto (****)
7. Stranger than Fiction (****)
8. A Guide to Recognizing your Saints (****)
9. The Departed (***½)
10. Letters from Iwo Jima (***½)
    

Davis Film Winners

Best Actor in a Leading Role

Leonardo DiCaprio-The Departed
Will Ferrell-Stranger than Fiction
Ryan Gosling-Half Nelson
Shia LeBeouf-A Guide to Recognizing your Saints
Derek Luke-Catch a Fire

Best Actress in a Leading Role

Penelope Cruz-Volver
Jennifer Hudson-Dreamgirls
Ellen Page-Hard Candy
Helen Mirren-The Queen
Kate Winslet-Little Children

Best Actor in a Supporting Role

Alan Arkin-Little Miss Sunshine
Steve Carell-Little Miss Sunshine
Jackie Earle Haley-Little Children
Freddy Rodriguez-Bobby
Michael Sheen-The Queen

Best Actress in a Supporting Role

Adriana Barraza-Babel
Cate Blanchett-Notes on a Scandal
Abigail Breslin-Little Miss Sunshine
Maggie Gyllenhaal-World Trade Center
Robin Wright Penn-Breaking and Entering

Best Director

Clint Eastwood-Letters from Iwo Jima
Todd Field-Little Children
Mel Gibson-Apocalypto
Paul Greengrass-United 93
Martin Scorsese-The Departed

Best Original Screenplay

Emilio Estevez-Bobby
Michael Arndt-Little Miss Sunshine
Peter Morgan-The Queen
Zach Helm-Stranger than Fiction
Pedro Almodovar-Volver

Best Adapted Screenplay

Alfonso Cuaron, Timothy J. Sexton, Mike Fergus, David Arata, Hawk Ostby-Children of Men
William Monahan-The Departed
Iris Yamashita & Paul Haggis-Letters from Iwo Jima
Todd Field & Tom Perrotta-Little Children
Patrick Marber-Notes on a Scandal

Best Original Score

Mark Isham-Bobby
Mychael Danna-Little Miss Sunshine
Philip Glass-Notes on a Scandal
Alexandre Desplat-The Queen
John Powell-United 93

Best Film Editing

Bobby
The Departed
Dreamgirls
Little Children
United 93

Best Cinematography

Apocalypto
Babel
Children of Men
Letters from Iwo Jima
Volver

Best Costume Design

Bobby
Dreamgirls
The Devil Wears Prada
Flags of our Fathers
The Prestige

Best Song from a Motion Picture

Bobby - "Never Gonna Break My Faith"
Dreamgirls - "And I Am Telling You (I'm Not Going)"
Dreamgirls - "Listen"
Little Miss Sunshine - "Til the End of Time"
Volver - "Volver"

Best Cast Ensemble

Bobby
The Departed
Dreamgirls
A Guide to Recognizing your Saints
Little Miss Sunshine

American Gangster

Director Ridley Scott brings to the screen, American Gangster, the true story of Frank Lucas, the notorious drug smuggler during the 60s and 70s revolutionized the drug industry. Oscar winner Steven Zaillian writes the crime piece but doesn't provide the viewer with enough fuel to launch the film off the ground. The countdown to take off was great and then the viewer stayed stagnant with the engines going for nearly forty-five minutes before the rocket took off. All the dialogue seemed too forced and too aggressive to engage us into the film. It was like a five year old telling us to "Watch this, watch this." Alright Mr. Scott and Mr. Zaillian, I'll watch just stop telling me to do so. I think there was too much anticipation built up into a mediocre storyline.

Academy Award winner Denzel Washington stars as Lucas bringing forth a candy cane version of his "Alonzo" in Training Day. As the ferocious Frank, Washington manages to inherit all the fury and anger of a troubled young individual yearning for success and leave his inhibitions at the door. As a terrific turn for the veteran actor Washington does an admiral job on a character we hardly know and introduces him to us full force. How can Washington manage to be so good and make all this seem effortless? Beats me, but the fact that it looks so easy and the character doesn't demand too much of Washington may be his undoing in this upcoming awards season. While a nomination isn't out of the question, with two wins to his credit, this performance holds no measure to his previous works. Zaillian was unsure how malicious he wanted to portray Lucas and ended up portraying him as incredibly unsure of himself and how he wanted to be. But maybe that's the character and Scott just failed to let us know.

Russell Crowe plays Detective Richie Roberts, a narcotics cop battling more than the drug war on the streets of New York. The monotone detective never lets Crowe break out of his exterior tough demeanor. A big star like Crowe definitely takes on this supporting turn with a sense of humility and that perhaps is the triumph of the performance. With big starring turns in Gladiator, Cinderella Man, and A Beautiful Mind, I would never expect Crowe to take on such a quiet role and do it with dignity. An impressive turn but doesn't have the pivotal scene that one actor yearns for that steals any scene.

With 90% of the film having Washington and Crowe separated, the anxious and satisfying meeting in the finale settled all tension built up throughout the film's narrative. Ridley Scott seems on the back burner of this picture as he allows his stars to run the show. The supporting cast even shows some brightness off and on.

It's Ruby Dee as Mama Lucas that capitalizes on her limited screen time. As a veteran actress she does have the power and potential to break into the extremely weak Supporting Actress race. She shows vulnerability yet an intense courage that evokes the audience when she's on screen.

Josh Brolin's exciting and villainous turn as a crooked cop turns out to be a strong turn for the actor who is having one hell of a year with an acclaimed turn in No Country for Old Men. Chiwitel Ejifor has a presence in a film that is soothing but doesn't flow with the characters he chooses. He might be Hollywood's best kept secret at the moment with the wrong roles.

In the end, American Gangster may not have enough steam to jump into the Best Picture race. With Scott being so "overdue" for a Oscar, that may the film's only hope. With comparisons be thrown around to The Departed, (which doesn't measure by a mile) last year's winner, the film already has an uphill climb ahead. Serious potential for Washington and Dee for this year's Oscar race. The film is enjoyable but tries too hard to start off with a bang and ends up leaving the viewer disenchanted and we spend too much of the premise trying to play catch up.

Grade: ***/****

I Now Pronounce You Chuck & Larry

I Now Pronounce You Chuck & Larry written by Academy Award winning writers Alexander Payne & Jim Taylor along with Barry Fanaro, is one of the smartest, and tender comedies of the year. The film stars comedy superstars Adam Sandler and Kevin James as two NYC firefighters, Chuck Levine and Larry Valentine who pretend to be a gay couple in order to get domestic partnership benefits for Larry's children who has recently lost their mother. When the partnership is questioned by City Official Clinton Fitzer played by another comedic icon, Steve Buscemi, they turn to the beautiful intelligent lawyer, Alex played by the sexy Jessica Biel.

The film brings forth some laughs but all in all the film soars on dramatic level which I believe Payne and Taylor weren't exactly aiming for. Sandler still struggles as a dramatic actor and finds it hard to find his inner characters without bringing himself out. We are still waiting for him to return to form as he did in Paul Thomas Anderson's Punch-Drunk Love. James however, is quite an actor who shows the most vulnerable parts of Larry without going over the top. We enjoy Larry's company and look forward to his story unraveling. Kevin James will have an easier transition into more affluent and demanding roles as an actor than Sandler has.

You also have your usual suspects in the Sandler films like the unrecognizable Rob Schnieder and you'll find some comfort in Dan Aykroyd who has been missed from the screen for some time and Ving Rhames who is always as funny as he is intimidating. But don't look for a revolutionary story to befall in front of you, it's a good watch, not a great one.

The film drags on a bit and no stand outs that scream recognition. It's a new addition to good popcorn flicks of 2007.

Grade: **½/****

The Simpsons Movie

Depending what generation you're from, you can appreciate "The Simpsons" on different levels. I can remember watching one of first episodes with my older siblings when I was five and thinking, this is the funniest show on the planet. Watching it nearly twenty years later, it has lost its spark and everyone waited in fright to see which "Simpsons" we were going to be seeing. The film however lies somewhere in between classic Simpsons and broken down, fireless Simpsons. So I guess the viewer got mediocre Simpsons.

The Simpsons Movie starts off fantastic with our Itchy and Scratchy humor that we love but after the first twenty minutes are over, Homer and the gang takes a small decline into general second-rate comedy. When Homer accidentally pollutes Springfield's water supply and the government encases the whole town in a glass dome, the people turn on them and declares them enemies.

The story is just so ordinary and average that it leaves the classic Simpsons fans, a little dead in the dirt and even worse disappointed. As middle-of-the-road as it may be, Oscar will surely take it on the Animated Feature film list but with the highly acclaimed Ratatouille, Simpsons are left Oscar-less and stuck at the Emmys unless there's a sequel in James L. Brooks' future.

This critic is left a little disenchanted and sorry for The Simpsons Movie and only hopes the best for the family.

Grade: **½/****

We Own the Night

From Writer/Director James Gray comes We Own the Night, a tale of a family spread amongst the darker and brighter aspects of Brooklyn city life. The film stars Academy Award nominees Joaquin Phoenix and Mark Wahlberg and winner, Robert Duvall.

Shot in 80's film style concentrating on eerie elements and subdued cinematography, the film reminds viewers of past films The Departed, Goodfellas, and The Warriors surprisingly but loses a lot of steam in areas. For this viewer, Joaquin Phoenix carries the film of his shoulders and elevates the cheesy dialogue and often at times, weak material. He plays Bobby Green, a middle aged rebel from a police family finding solace in the night life of New York. Besides having feuds with his family over career and life choices, Bobby wants to rid his family name by taking on his mother's name. Phoenix's vulnerability and humanity is evident all throughout the film.

Mark Wahlberg nominated for his stunning portrayal of a hard-nosed cop in last year's winner, The Departed takes on a completely different role. A bit more tamed and bit more character conflicted, Wahlberg gives an admirable effort. Gray however, fails on bringing in some flavor to these two ingredient characters. I wish we had fuel to add to the fire to make the picture work; Gray felt there was no fuel necessary.

Robert Duvall, a master thespian of the 20th century brings a much needed presence to the film. Duvall's worried "Burt" has a hard exterior and even less softer soul. Wanting nothing more than his family to be together and safe, Burt is more concerned in just moving forward.

Eva Mendes who might be our newly more talented Jennifer Lopez plays Bobby's girlfriend's Amada. This is the sexiest we've seen her but even more talented in her acting choice. Mendes however, is lost in this film like Vera Farmiga was lost in Scorsese's film. Gray had his heart in the right place but not the creativity to support it.

We Own the Night, is solid in effort and definitely viewable. Not enough gas to bring it to the finish line and not enough development to showcase the talent. You judge for yourself.

Grade: **½/****

Atonement

From Joe Wright, the acclaimed director Pride and Prejudice comes his sophomore effort, Atonement based on the best selling novel by Ian McEwan. The film tells the story of Robbie and Cecilia, two young lovers torn apart by a false accusation of young Briony, Cecilia’s sister. Robbie is sent to prison and in exchange for his incarceration, he must serve in World War II for his freedom.

This is technically and visually the best film of the year. The stunning cinematography by Seamus McGarvey which acts like a photographer capturing the glimpses at the doors of heaven are absolutely breathtaking. The scenery and images are all but believable as we are thrown into a time of passion, betrayal, corruption, and torment.

Now, I’ve never been a fan of British Cinema like the next avid Oscar watcher. Never cared for Sense and Sensibility, Pride and Prejudice wasn’t terrible but nothing great, Howard’s End and The Remains of the Day are mediocre to me. The reason I say this is that I was feeling the way I felt about those films with Atonement for the first half. I thought was melodrama to the extreme and overly emotional and presented that it disengaged the viewer from the picture. As the film continued I felt myself being closely drawn to the performance of James McAvoy very reminiscent of Jude Law’s performance in Cold Mountain but with more depth, more life, more response.

The melodrama continued and all of a sudden, comes this powerful last third of Atonement. Romola Garai who plays the Briony at 18 who’s performance is very responsive and spacious heats up the screen with poise and control. Garai who hasn’t had success in with mediocre performances and films like Dirty Dancing: Havana Nights and Vanity Fair finally is given some scenery to chew. Inhabiting the guilt and despondency of Briony was quite a task and sincere effort to bring her to the viewer with aggression yet subtlety was great.

Keira Knightley who has teamed up with Joe Wright before in his directorial debut is beautiful in elegance but nothing extroverted that makes you take her with you after the film ends. Her "Romeo & Juliet" story with McAvoy is the most tender parts of the movie however, disappointment is the only feeling I can describe to you, the reader, with her work here. With expectations so high maybe that was her downfall with myself.

Saoirse Ronan who has been reaping all the buzz is a talent to watch in the future but alas, I can’t wallow in the glory of Ronan without feeling Garai is missing out on the glory. It is the best child performance of the year by far and her curiosity and crush on Robbie is special to the film; Ronan holds her own against the other talents in the film.

In the end, it’s the wonderful veteran actress Vanessa Redgrave that steals the show and inhabits Older Briony which singled handedly saves the film in its entirety. All the melodrama and over zealous antics of the film were summed up in the finale and because of Redgrave it all made me swallow it a whole lot better. Redgrave holds all the tragedy of the film in her brief and final moments that encourage all of us to share in the love for all humanity. Thinking about all the things that you regret and wish you could change is the solution to the film Atonement. "Atonement" in the sense of the word, is needed in all our lives as the one thing that is a necessity but everyone hesitates to take. The film is a work of art.

Grade: ***½/****

Top 10 List from 2006 and Awards

Top 10 Films of 2006

1. Bobby (****)
2. Dreamgirls (****)
3. Little Miss Sunshine (****)
4. Little Children (****)
5. United 93 (****)
6. Apocalypto (****)
7. Stranger than Fiction (****)
8. A Guide to Recognizing your Saints (****)
9. The Departed (***½)
10. Letters from Iwo Jima (***½)

Davis Film Nominees

Best Actor in a Leading Role
Leonardo DiCaprio-The Departed
Will Ferrell-Stranger than Fiction
Ryan Gosling-Half Nelson
Shia LeBeouf-A Guide to Recognizing your Saints
Derek Luke-Catch a Fire

Best Actress in a Leading Role
Penelope Cruz-Volver
Jennifer Hudson-Dreamgirls
Ellen Page-Hard Candy
Helen Mirren-The Queen
Kate Winslet-Little Children

Best Actor in a Supporting Role
Alan Arkin-Little Miss Sunshine
Steve Carell-Little Miss Sunshine
Jackie Earle Haley-Little Children
Freddy Rodriguez-Bobby
Michael Sheen-The Queen

Best Actress in a Supporting Role
Adriana Barraza-Babel
Cate Blanchett-Notes on a Scandal
Abigail Breslin-Little Miss Sunshine
Maggie Gyllenhaal-World Trade Center
Robin Wright Penn-Breaking and Entering

Best Director
Clint Eastwood-Letters from Iwo Jima
Todd Field-Little Children
Mel Gibson-Apocalypto
Paul Greengrass-United 93
Martin Scorsese-The Departed

Best Original Screenplay
Emilio Estevez-Bobby
Michael Arndt-Little Miss Sunshine
Peter Morgan-The Queen
Zach Helm-Stranger than Fiction
Pedro Almodovar-Volver

Best Adapted Screenplay
Alfonso Cuaron, Timothy J. Sexton, Mike Fergus, David Arata, Hawk Ostby-Children of Men
William Monahan-The Departed
Iris Yamashita & Paul Haggis-Letters from Iwo Jima
Todd Field & Tom Perrotta-Little Children
Patrick Marber-Notes on a Scandal

Best Original Score
Mark Isham-Bobby
Mychael Danna-Little Miss Sunshine
Philip Glass-Notes on a Scandal
Alexandre Desplat-The Queen
John Powell-United 93

Best Film Editing
Bobby
The Departed
Dreamgirls
Little Children
United 93

Best Cinematography
Apocalypto
Babel
Children of Men
Letters from Iwo Jima
Volver

Best Costume Design
Bobby
Dreamgirls
The Devil Wears Prada
Flags of our Fathers
The Prestige

Best Song from a Motion Picture
Bobby - "Never Gonna Break My Faith"
Dreamgirls - "And I Am Telling You (I'm Not Going)"
Dreamgirls - "Listen"
Little Miss Sunshine - "Til the End of Time"
Volver - "Volver"

Best Cast Ensemble
Bobby
The Departed
Dreamgirls
A Guide to Recognizing your Saints
Little Miss Sunshine

Gone Baby Gone

In his directorial debut, Ben Affleck has completely morphed himself into an emerging artist and even more challenging director. Gone Baby Gone might be the most innovative and moral challenging film of recent years. This is the story of young Amanda, a little girl who mysteriously disappears from her home and the activity and dangers that befall upon the people involved in her finding.

The film stars Affleck’s brother Casey as Patrick, in his most challenging and engrossing performance to date. Not since Sean Penn in Mystic River has a role been so subdued yet immensely victorious and depth defying in choice of delivery and spot on emotions. Casey Affleck has paved the way for himself in roles that demonstrate the actor’s showcase and give the performer range. It’s a bit odd what to make of the younger Affleck in the upcoming awards season. He fairs a better shot for his earlier raved performance in The Assassination of Jesse James by the Coward Robert Ford for a nomination, but his performance in Gone Baby Gone is far more superior. Especially with upcoming prospects such as Daniel Day-Lewis, Johnny Depp and other big name talents, it’ll be a tough road ahead for him.

Ed Harris, who’s been long “overdue” for Oscar recognition is purely haunting in his role as Remy, a hard-nosed cop looking for young Amanda. In one scene in particular, Harris shines and gives his best portrayal since The Hours. Although his character is a bit one-dimensional, Harris elevates the material and turns it into his show and steals frame after frame in a role easily lost in a picture like this.

Morgan Freeman, in a role we have not seen him in before, plays Captain Jack Doyle, the head of the missing persons unit with personal experience in the loss of a child. Freeman, although absent for most of the narrative, sugar coats the top acting talent in the picture. Freeman’s agenda into more range projects in his older career is reaffirming his Oscar win in 2003 for Million Dollar Baby, but now with the more rewarding films worthy of consideration.

Michelle Monaghan who’s a bit of an unknown face, plays Angie, Patrick’s significant other who’s personal fears interfere with her involvement in the case. To be honest, Monaghan gets lost in the shuffle and while the audience empathizes with her throughout the latter of the film, she’s placed into a role easily overshadowed by stronger characters. Perhaps being the only strong woman role would have gave us something to awe at, but not with the guns at full blaze at the hands of Amy Ryan.

Ryan plays Amanda’s mother Helene, definitely not the most likeable of characters but tragic in character arc. It’s like a full on tennis match going back and forth with Ryan and audience; the viewer is hating her one moment and then needing to hold her the next. Helene is multi-layered and grasps her own importance of parenting and the whole film it becomes a fallen angel lost in the fire. That is the tragedy of the film, a film not only about the loss of a little girl, but the loss of innocence and the torment that betrayal, guilt and corruption can weigh on our souls.

Ben Affleck is completely in control of this film, which he has lacked in his performances often. He knows what the mission is of this picture and would gladly take a spot amongst some bigger, older talents among Oscar prospects this year. Along with Co-adapting the film with Aaron Stockard, if Oscar is feeling like inviting Affleck to the Kodak, the screenplay category seems like a better fit, especially with an already win for Good Will Hunting. Other possibilities for consideration is wonderful cinematography by John Toll and a great musical score by Harry Gregson-Williams.

Comparisons to Mystic River are all about, being done by the same author how could we expect no less. Mystic River had more of the message of the domino effect of one’s actions on others, Gone Baby Gone brings it to a new level. This film is about a society, a society who has lost the importance of innocence and the beauty of life. It focuses on the beauty of children and rest assure, when the film is over, if you’re not yearning to be a better parent of embrace a child as a blessing, there is probably emptiness in your chest. This film is marvelous, beautiful and spectacular. A must-see film of the year and a pleasant surprise coming from Ben Affleck.

Grade: ****/****

No Country for Old Men

Brothers Joel & Ethan Coen, the acclaimed filmmakers that brought us Fargo over ten years ago brings their most vicious film to date, No Country for Old Men. As the film evokes all the Coen brothers artistic qualities as their attention to detail and character study, the narrative disenchants the viewer on many levels.

The performances hold the viewers attention, especially during the final forty minutes or so. Many questions are left unanswered and many issues left not addressed. Javier Bardem as the ferociously frightening Anton gives his most stunning performance of his career. As the psychopathic killer looking for his $2 million case, Bardem not shutters, loses focus, or disengages himself from us. As crazy and psychotic as Anton is, there is a hero in him that the audience just loves to hate. A great character study for the Coen brothers indeed.

Josh Brolin as the eager and reserved Llewelyn Moss brings frustration to the viewer based on narrative choices but Brolin powers through and gives his tantalizing turn yet. He does capture the culture of South Texas and develops it into a full on human being. The sentiment we find in Llewelyn is in his relationship with his wife Carla, a beautiful naïve woman, blindly in love with her husband with some many agendas.

Kelly MacDonald as the beautiful Carla brings a resemblance of Amy Adams in Junebug, and we know how that worked out for her. This dramatic turn as minimal as the screen time is makes a lasting impression on everyone. When you walk out the theater it’s her and Bardem that you take with you. That naïve persona, “twangy” accent, (we forget that she’s Scottish) and that wonderful aura of curiosity and worried factors make it authentic to life.

Tommy Lee Jones as the authoritative Sheriff Ed does an admirable job in his performance however, the first half of the film is the Bardem show which Jones can’t overshadow at all. In the finale, the viewer is so frustrated by the story that I don’t care that Jones is now bringing the humanity to his performance. The film was lively and authentic for me for the first hour and a half, after that, I started looking at my watch wondering when it was going to end. It does disappoint me that Jones’ best work was placed in the weakest narrative points of the film. As people may feel different with that end, my intellect left the building at a point of aggravated feeling towards the things left unanswered. It was as if the Coen brothers started the film on pg. 34 of the novel and left out Chapters 12 and 14 to give us the full story.

Consequently the film does work and has great achievements in cinematography and dialogue and is a threat in the upcoming awards race especially for Javier Bardem and Kelly MacDonald however, I can’t foresee the Academy jumping on this for a Best Picture statue. This is so unlike Coens’ brothers previous works but the detail and storytelling is pure Coen. A admirable turn for them despite the flaws.

Grade: ***/****

Before the Devil Knows You're Dead

Veteran and iconic director Sidney Lumet brings the electrifying Before the Devil Knows You’re Dead. This may be one of the best, if not the best film of the year. With a star-studded cast who turn in some of the finest performances of the year and their careers, its hard to resist the darkness of the picture. With the Requiem for a Dream meets Closer persona, the film tells the story of Andy and Hank, two brothers who come up with a perfect plan to solve all their financial problems; they will rob their parents jewelry store. All seems well when the plan goes sour which domino-effects a chain of events that will change their lives forever.

Lumet directs Philip Seymour Hoffman in his best portrayal in years, definitely topping his award winner Capote. Hoffman plays the hard-nosed Andy, as powerfully disturbing as he is irritating, Hoffman layers Andy emotion on top of emotion never giving the viewer any indication of what he may be feeling next. The character, while well written. doesn’t embody any type of redeeming factor to make the audience like him at all. His character might be one of the paramount written character studies of the new millennium.

Ethan Hawke in his most daring and striking turn of his career plays Hank, the easily manipulated loser who is easily influenced by his overbearing brother Andy. Hawke has never been more aware, more internalizing, more invigorating in all his years on screen. Hank is your tragedy of the story, a character destined to fail and drowning in his endeavors, or lack there of. This is the performance that is in dyer need of awards consideration as Hawke proves that he can be a leading man, even though his performance is clearly supporting. (as is the entire cast)

Albert Finney as the tough and nearly unsentimental father Charles breathes new life into his characterizations that we have never seen from the veteran actor before. As loving and caring as Charles may appear, his feelings for life especially his children run skin deep but with Finney at the helm and bleeding out of the screen with frightening poise, that latter part of the film becomes his show. Along with Hawke, an awards-caliber piece that is worthy of citation.

Marisa Tomei, in a role which on the surface seems underdeveloped and unneeded brings forth a brilliant performance that tops her work in In the Bedroom. It’s her one-liners and long stares out a car window that fish hook us into her world. Besides her words and expressions being so endearing, we haven’t seen her more sexy, more ballsy, more unlike Marisa which we have come to know in her later years of acting in Unhook the Stars and What Women Want.

Aleksa Balladino, Michael Shannon, Rosemary Harris and the incomparable Amy Ryan turn in limited but special performances respectively. All adding to what could be a serious threat come SAG awards time for Best Performance by a Cast Ensemble nomination. But I’m afraid in the end it’s Kelly Masterson’s brilliant, which is an understatement, miraculous screenplay that makes the film work so well. How can this concept be thought of which on paper seems so ordinary but in the end be so original and provocative?

You get the legend Sidney Lumet to direct your picture. In his later years, Lumet hasn’t stood out (at least in my humble opinion) in his films as he did in his earlier years. With classics like Dog Day Afternoon and The Wiz, Lumet revolutionized filmmaking and make it more artistic and scenic. I only hope his work here can not go unnoticed because it is a return to form for him indeed.

Consequently, Before the Devil Knows You’re Dead excels and the most inventive levels. As the characters all inhabit something grotesque and grating about them, the radiance and grandeur of the eccentric type illuminates the screen and sends chills down the viewer’s body; creating fury and lack of comfort that follows you home until landing of the cranium on a soft light spread cushion.

Grade: ****/****

Juno

When’s the last time do you remember laughing at a teacher putting a condom on a banana? Or a teenager peeing on a home pregnancy test? Or quote “Thundercats a go!?” Diablo Cody writes her intimate character portrait Juno, starring Ellen Page in the title role as a young teenager who gets pregnant and decides to give it up to a family unable to have children.

Thank You for Smoking’s director Jason Reitman helms this ship of laughter, tenderness and Hamburger phones. The narrative is absolutely fantastic as it keeps the viewer engaged at all times but in essence, it’s the hypnotizing dialogue from the screenplay by Diablo Cody that makes the film work so well.

Ellen Page turns in one of the year’s best performances as the young naïve and charming Juno MacGuff. She’ll steal your heart with her wonderful one liners and equally break it with her character breakdowns and insecurities. Even though this has no measure to her Oscar snubbed performance in Hard Candy, this does hold some time of candle to it and is complete contention for an Oscar nomination. The role however, doesn’t possess that extra mile to steamroll any other female performer this year. But its not only Page that makes the film succeed.

Some of the supporting players turn some of their best performances of their careers. Michael Cera popularly known as the innocent “Evan” from Superbad, plays Paulie Bleeker, the “father-to-be-not” and gives a charming comedic performance. His role however doesn’t require much out of him with the exception of tiny yellow shorts.

Jason Bateman and Jennifer Garner play Mark and Vanessa, the couple waiting for their chance at parenthood. This dynamic duo turn in the best performances of their careers. With layer upon layer of emotions these two actors possess, its amazing how they ever came to know them. Bateman’s charisma and immaturity to say the least, fits well with the picture. His awkwardness is embodied quite well. Garner who tears at you from the inside out is so effective as Vanessa, the hopeful mother-to-be shows acting range which we have never seen from her before. Heartbroken, worried, and disenchanted engulf Vanessa which makes Garner sensational at her job.

J.K. Simmons and Allison Janney play the loveable parents of Juno. As she tries to come to terms with her new pregnant lifestyle she spends time with her stepmother Bren, (Janney) the sarcastic, hard-nosed woman that is coming to terms with her new stepdaughter. Janney is loveable and utterly hilarious but its Simmons who is the stronger of the two and is more authentic in his character and traits. There is a good breakthrough performance lying in Olivia Thirlby as the “teacher obsessed” best friend of Juno. She turns in a beautiful humane performance and encompasses the young teenager persona wonderfully.

What are Juno’s Oscar chances? To quote Tom Houseman as he told me after the film was over “That is not Little Miss Sunshine.” Completely true and well said, it is not Little Miss Sunshine but it is a great picture, very reminiscent of past teenage icon films Fast Time at Ridgemont High and Weird Science. Diablo Cody is a definite threat for the Original Screenplay Oscar and Ellen Page is a strong contender for Best Actress. (I feel it’ll be between her and Amy Adams for a spot) Best Picture isn’t out of the question but it’s rather small in a year full of big films and bigger stars. The film is a gem but I think expectations were too high and it fell a little short. But alas, I love Juno.

Grade: ***½/****