Ranking Every Film in 2007 1-44: Part I

Here's a series I'm starting where I look at a year (Boxofficemojo and idbm provide yearly lists. It provides a good measure on your movie-viewing habits) and every film I've seen in that year and rank them. 2007 was possibly my most prolific year as a movie watcher at 43 1/2 films due to the fact that I was working a strenuous job at a crowded movie theater and would regularly plop into a movie after working a long shift. It was also a spectacularly awful and disappointing year overcrowded with sequels that failed to deliver (the tail-end of the three biggest moneymaking trilogies of the decade-Spiderman, Shrek, and Pirates all landed with a resounding thud), a slew of ambitious war films that were quickly forgotten (anyone remember The Kingdom? The Kite Runner? Can you tell the difference between Redacted or Rendition?), the sudden emergence of Seth Rogen and Judd Apatow as kings of a new brand of schlubby comedy, an overpopulation of Office cast members in films and a mistaken belief in the range of Michael Cera. I'm going to have a little fun with the credits so bear with me.
So here we go:

1. 3:10 to Yuma dir. James Mangold, starring Christian Bale, Russell Crowe, Ben Foster, Alan Tudyk, Gretchen "Where I" Mol, Logan "Before he was America's favorite indie goth kid" Lerman-It was just a remake, but I thought the dialogue was Shakespearean, the acting was top-notch and the action was raw and authentic in a way that few films in this CGI Age are. 
2. Lars and the Real Girl, starring Ryan Gosling, Emily Mortimer, Paul "I couldn't cut the mustard on Parks and Rec" Schneider, Patricia "redheads can act too" Clarkson, Kelli "Never heard of her before but had to look her up because she's awesome" Garner-In seven words or less: Entirely original in concept, sweet, unconventional, inspiring.
3. There Will be Blood, dir. Paul T. Anderson (middle initial included because coincidentally one of the worst directors in Hollywood also has that name), starring Daniel "Super Annoying  Method Man" Day-Lewis, Paul Dano-I only saw about 60% of this film but could recognize its originality and perfection. The film's soundscape and visual detail are both striking. 
4. Michael Clayton, directed and written by Tony Gileroy, starring George "I'm an attention whore, want to hear more about my Italian Villa?" Clooney, Tilda "Ice queen" Stinton, Tom "That vaguely British guy" Wilkinson, Sydney "Also a famous director" Pollock-Well-deserving of a best picture nomination. A complex tightly-paced thriller that makes tackling corporate corruption seem sexy and exciting. The film was topical and asked questions to which there were no easy answers.
5. Sicko dir. Michael Moore, I generally don't find the movies to be the best way to expose myself to non-fiction, thus, I tend to judge them by entertainment value. Michael Moore has that in spades and he also (for lack of a better word [seriously, thesaurus, you're giving me nothing here]) arouses passion from his audience. 
6. The Great Debaters dir. Denzel Washington, starring Denzel Washington, Forrest "Hot off his Oscar win" Whitaker, and (I'm not kidding here) Denzel "If Forrest and Denzel had a love child" Whitaker, Nate Parker, Jurnee Smollett-Bell-Without even knowing the history behind the story, you can tell there's a little Disneyesque truth stretching to fit the neatly told story arc of an underdog beating the odds (i.e. Did they debate Harvard? nope, just USC). Still, I found the film delicate and nuanced with an unusually strong performance from Forrest Whitaker and the film's delving into the civil rights movement, feminism on a college campus and the intellectual struggle of undergraduate life all resonated for me.
7. Darjeeling Limited dir. Wes Anderson, written by Wes Anderson and Roman "I can never remember how many p's and l's go in that last name and have to look it up , uggh!" Coppola starring Owen "This was made right after his suicide attempt" Wilson, Adrian "Won an Oscar, Kissed Halle Berry, Haven't Done Much Since" Brody, Jason "The Nerdy Guy from Rushmore" Schwartzman, Anjelica Huston, Amara Karan, cameo by Bill Murray-I happen to think it's as profound and enjoyable of a film as the rest ofWes Anderson's output  and I challenge you to watch this film as if you've never seen his other films and tell me that the originality of Anderson's vision doesn't strike you here too.
8. Hairspray dir. Adam Shankman, starring Nikki "Lived on the same street as my cousins" Blonsky, John "Channeling his Inner Woman" Travolta, Christopher "No, seriously, the guy can act, dance and sing" Walken, Zac "American Teendom's Favorite Boytoy circa 2006" Efron, James "The Guy From X-Men Who's Not as Popular as Wolverine"  Marsden, Queen Latifah, Amanda Byrnes, Brittany Snow, Michelle "Seriously? I thought she was dead" Pfeiffer, Allison Janey, Elijah Kelley-An absolutely excellent piece of ensemble work with swinging music. I wanted to gag when they called the group of teens the "Nicest Kids in Town" but at least they were self-conscious enough to call Marsden's character "Corny Collins."
9. Juno, dir. Jason Reitman, written by Diablo "Ex-stripper" Cody, starring Ellen "Too short to be considered hot?" Page, Michael "One-Note" Cera, Jason "Justine's Brother" Bateman, Jennifer Garner, JK "The Deadpan King" Simmons, Allison Janney, Olivia "Damn you and your complicated last name" Thirlby-If you were around in 2007, you would be convinced that Diablo Cody was the second coming of the messiah for screenwriters. She's not all that, but Juno is a sharply acerbic, regionally specific, and bitingly funny script. 
10. Lions for Lambs, dir. Robert Redford, starring Tom Cruise, Meryl "I lost to Catherine Zeta-Jones at the Oscars" Streep, Robert Redford, Derek Luke, Michael Pena, and Andrew "Before he was famous" Garfield-It wasn't a very cinematic film as it took place in three mostly static locations in real time. It rates so highly with me because I found it thought-provoking and one of the few pieces of art I was exposed to that had something original to say about the war in Iraq and said it well. 
11. Charlie Wilson's War dir. Mike "Did you know he was once known as a comedian?" Nichols, starring Tom "Everyman" Hanks, Julia "Not as good as her brother" Roberts, Amy Adams, Philip "Damn you, I can never remember how many l's are in your name and always have to look it up" Seymour Hoffman, a cameo by Emily Blunt who does little other than stand on a balcony with her clothes off-If you go back in time to 2007, you'll see that this film had a lot of pre-release buzz and was touted as an Oscar contender. It didn't quite live up to that, but it was an interesting take on the American political hero and even the American dream. The apologetically sleazy congressman got a piece of legislation through that saved lives in Afghanistan. In the second piece of irony, it would lead to the Taliban, but who's counting? There was a definite sense of fun to the film. 
12. King of California, starring Michael Douglas, Evan "Definitely not a dude" Rachel Wood-Just watched this yesterday (which is what got me thinking about 2007). The deadbeat dad is a tired convention but not many movies are focused so solely on a father-daughter dynamic. There wasn't a separate plot with a love interest or any conclusion for the character other than her resolution of her feelings toward her dad. 
13. Bee Movie, produced by Jerry Seinfeld, starring Jerry Seinfeld, Matthew Broderick, Renee Zellweger, Patrick Warburton, Chris Rock, cameo by Ray Liotta-I might be alone but I don't think it was such a bad start for Seinfeld's foray into animation. The bee-on-human sexual undertones made me a little uncomfortable, but I thought the jokes were sharp as was the overall comic plot. It harkened to the days of Pixar's first films like Monster's Inc. and Toy Story that were permeated by an adventurous attitude of fully exploring the comic possibilities of a familiar-yet-foreign world. 
14. Spiderman 3, dir. Sam Raimi, starring Tobey "Who will always look 23" MaGuire, Kirsten Dunst, Bryce "My sister met her at summer camp once!" Dallas Howard, J.K. Simmons, Rosemary Harris, Topher "Amazing" Grace, Thomas Haden "Get me to the" Church "On time", Cliff "Won an Oscar in 1968" Robertson-We're only on #14 and getting to the films I wouldn't enthusiastically recommend. I never found Spiderman as colorful as some of the other superhero series with its obvious symbolism: The girl next door is literally the girl who lived next door, and James Franco is so broody and blatant he virtually was walking around with a "Future token villain" name tag. Then again, the Spiderman series showed it could have fun with stock characters. J.K. Simmons's newspaper editor was also very much a stock stereotype, but he was undeniably entertaining. So while the Spiderman series is flawed on the whole, the third installment was able to both have fun within its rigidly thought-out universe AND end in an emotionally satisfying coda. 
15. Elizabeth The Golden Age, dir. by Shepac Kapur, starring Cate Blanchett, Clive "Handsome" Owen, Geoffrey Rush, Samantha Morton, Abbie Cornish, Jordi "My name requires not one but two spanish accent marks" Molla-This film is insanely high in terms of historic attention to detail. Even if it isn't and it turns out that the production team's research department was completely wrong about everything, it wouldn't matter because the atmosphere of the film felt so real and was so mesmerizing. The film is a more subtle than dynamic study of politics, war, sexual repression, idolatry (the kind where you look up to a person rather than the religious kind), and class. Look closely, it's all there. 
16. Eastern Promises, dir. by David Cronenberg, starring Naomi Watts, Viggo Mortensen, Vincent Cassel A thriller intense enough that I can literally remember my heart beating from watching this movie 4 1/2 years ago. Something I can't remember years later is the plot which is what makes for a memorable thriller. I'm also not giving the film too many points for its most memorable set piece: A nude knife fight scene in a spa's steam room which felt a little self-indulgent to me. Still, it's kind of a weak year, so it's up in 16. Plus Naomi Watts always kills it. 
17. Waitress, starring Keri "Felicity Forever" Russell, Nathan "King of the Comic Con Geeks" Fillion-A charming story with a nuanced performance by Russell that echoed the depressed housewife performance by Jennifer Anniston in "Good Girl."
18. Knocked Up, dir. Judd Appatow, starring Seth Rogen, Leslie "I'm sleeping with the director but I can act too damnit" Mann, Katherine Heigl, Paul Rudd, Jonah "Cameoing in every movie I can" Hill, Kristen Wiig, Bill "Don't be a Player" Hader, Craig Robinson and nearly everyone from the Office and SNL in cameo roles-I tend to find Apatow a little overrated and think he's produced as many duds as he has genuinely enjoyable films. His films often are raunchy just for the sake of being raunchy and contain plots that meander off course. Knocked Up, however, was enjoyable on all levels and its winding plot was one of its biggest strengths. Hard to buy Seth Rogen as a suitable romantic match for Katherine Heigl but, then again, I'm not the first one to point that out. 
19. Across the Universe, dir. Julie Taymor, starring Jim Sturgess, Evan "Again, not a dude, see the middle name" Rachel Wood-Some of the appeal of the film depends on how much of a Beatlemaniac you are, and some of it depends on the beauty of the visuals and vocals. While the visuals and musical numbers are stunning and the efforts to encapsulate the entirety of the 60's within a few characters is admirable, most of the film's main characters (I'd be content never seeing another film with Sturgess in it) are bland and uninspiring. Some are expys of famous people with none of the charisma. Taken as a series of disparate scenes (like Fantasia), the film is highly enjoyable.
20. Before the Devil Knows You're Dead dir. Sidney Lumet, starring Philip Seymour Hoffman, Ethan "Handsome" Hawke, Amy Ryan, Marisa Tomei, Albert Finney-This film barely registers with me five years later. The premise is excellent, the ending was powerful, and it's always a delight to see Albert Finney in a film, but something about it didn't resonate that well
21. Bourne Ultimatum, dir. Paul Greengrass, starring Matt Damon, Joan "Amazing in  Pleasantville" Allen, Julia "What the heck is she doing here?" Stiles, David Strathairn-The Bourne series has never been interesting to me as anything beyond a series of well-executed action scenes. Why do I care about this character? Despite Damon's general awesomeness as both a leading and character actor, there just isn't enough pathos (yeah, I used a fancy word, deal with it) behind Jason Bourne to make a series. But then again, that action was hard to discount. Like Spiderman 3, Bourne Ultimatum ended on a high note with an emotionally satisfying conclusion. 
22. Blades of Glory starring Will Ferrell, Amy Poehler, Will Arnett, Jenna "From the Office" Fischer, Jon Heder, Craig T. Nelson By no means, a memorable or ambitious film but one that was pleasant, funny, and delivered at its level of ambition. 
Part II where I mercilessly make fun of the bottom half of 2007

2008 Oscar blog

-I think John Stewart started to come off as kind of smug in his opening remarks like, “Let’s honor ourselves for three hours”…well that’s the point of the ceremony, if you’re hosting it, play ball. Pick another time to bash it. Then he started to get hilarious. 2 quotes I really loved:
-“Atonement: Finally a movie that captured the raw passion and sexuality of “Yom Kippur.”
-“Does this town need a hug?”…kind of funny…“All I can say is thank God for teenage pregnancy”

He says congratulations to George Clooney in Michael Clayton but it’s not George Clooney’s film by any means. He’s like the 3rd best actor in the film at best. Clooney is so exalted, it’s getting ridiculous. Isn’t anyone going to take a shot at him?

Ummmmm….wasn’t last year, the environmentally conscious green Oscars?

So Elizabeth and the Golden Age wins best costume design…nice. Short and sweet. Was that Elizabeth’s very first Oscar? (As in the 1998 film didn’t win any Oscars)

Is there anyone out there willing to lampoon George Clooney

Brad Bird had the best speech of the night, possibly: Discussion with guidance counselor about what you’d do if you couldn’t make movies…..It gave me something to think about, inspirational.

The Oscar ceremony tends to function as an advertisement for working at Pixar with the award winners for Finding Nemo, Little Miss Sunshine, Incredibles, and Ratatouille full of praise for Pixar

Whew! Katherine Heigl looks like Marilyn Monroe.

Amy Adams’ number was terrific but give her some background dancers or something.

Javier Bardem’s win-A good choice but let’s acknowledge that it was a very talented field this year and give praise all around. One of Phillip Seymour Hoffman’s meatier roles, Tom Wilkinson in a bit of inspired madness, Hal Holbrook in a career achievement award, and Casey Affleck was amazing I hear.

“’Cate Blanchett’ played the dog there.” Stewart is on fire. Doing better than last time, although I personally prefer someone like Steve Martin or Billy Crystal simply because I can see Stewart be funny every night while Martin and Crystal don’t have their own nightly shows.

Tilda Swinton’s win makes my night, because I did not expect it.

Sidney Poitier is pretty much the greatest endorsement the Oscars could get-He’s Pretty much the voice of dignity. He was black and proud at a time when no one else was. He speaks about acting and his blackness as elegantly as anyone else.

Kristien Chenowith plus reggae is a bit akward

The Oscars go through the same motions every year, but they have the challenge of having to reinvent it every year. They probably always do a short bit on how the Oscars are counted, and this year their Pricewaterhouse Cooper bit was slightly original, so good stuff.

Also, I liked how they showed bits of people winning, because there’s not enough footage from past ceremonies that’s easy to dig up on the internet. I doubt I could find Jack Lemmon or Ernest Borgnine’s Oscar acceptance speech on youtube for example

Sound goes to Bourne Ultimatum: Good speech

I think the screenplay win signifies that No Country for Old Men is in the lead

Marion Courtland has a good night: this is hard to believe because the Oscars’ best actress competition is like women’s figure skating at the Olympics, it’s like the glamour prize and the crowning of a new prom queen: So I’m surprised that they give it an unknown.

Haha, liked the joke “we make fun of your wardrobe at home”

Didn’t we have the best picture montage in the 75th year Oscar ceremony.

Once, was pretty good, but….very country like

Bourne Ultimatum wins editing….good choice but best car chase….was it b/c of Roderick Jaynes, and they didn’t want a fictional person to win?

Danny Boyle was an interesting and unpublicized choice

Austrian had a good speech, short and sweet. You could tell his film was the best in the 15 second montage.

So Amy Adams gets invited to the party, gets to sing and dance, pretty much better than being nominated

My dad is now making comments about how the guy is standing too close to the microphone. Oy vey.

They should have had clips of the five movies, where’s that part. I like that because it gives you a small synopsis and lets people at home know why they need to rent it at blockbuster.

Oh, come on, the guy who won the song “Once” should’ve known he was going to win. He could’ve read 100 websites devoted to predicting the Oscars out there, or a copy of any entertainment periodical in the last two weeks to know he was the favored guy, so don’t look so shocked. At the same time, his speech included virtually no thank yous….“They know who they are”

When I saw Clint Eastwood presenting to Stephen Spielberg in that montage on best directors, it made me think about how nice it is from one director to present to the next, and they should make that a permanent policy

Trovolta plays along with that joke about the best director. Good stuff.

Decent cinematography speech…connection to Wings

The score from There Will be Blood was robbed

Awww, Stewart let the Once girl come back…..

The controversial speech by the documentarian about torture went over pretty well

Serviceman in Baghdad announcing Academy Awards: good choice

My mom: “He looks terrible”, “Daniel Day-Lewis, echhhh, with the earings and the long hair and the hairstyles”

Diablo Cody wins looking like a stripper and she still looks like a stripper, “I worship you guys and I’m learning from you so thank you so much”….good stuff, Diablo! Humility goes a long way. “Jason Reitman, I’m in awe of his talents”

So Miyoshi Ukemi, Heath Ledger, Jane Wyman and Deborah Kerr died and with them 12 oscar nominations, while 20 were given out this year, so I guess the balance is that more Oscar nominations are being rewarded than are being given out

To some extent I think presenting the awards which the general public finds uninteresting like sound mixing and costume design are actually great ways to remind the public that the filmmaking community is made up of some working-class people. I'm pretty sure people working in the sound mixing, set design, or costume design departments are not flying personal jets to the ceremony like John Trovolta. The idea of Hollywood when movies hadn't yet caught on was the symbol of the American dream and I think seeing these scrubs win Oscars for these "lesser" categories promotes that.

Ohhh, Clooney gets applause so much, oh, everyone’s at his feet.

Oh yeah Day-Lewis, you kiss Clooney on the cheek! Let him have it. Rub it in his face that he’s not as good of an actor as you. With his comment that the Oscar came out of Paul Thomas Anderson’s head, is Day-Lewis suggesting that Paul Thomas Anderson sweated out an Oscar? Also, he still doesn’t realize that his son on screen HW Plainview is not his actual son,

You know, Mortgensen wasn’t perfect in his performance in Eastern Promises. Great performance but not Oscar-worthy. The way he had lines like “I put him in a 5-star hotel” was said with a little too much humor for the gravity of the situation but he generally pulled it off.

It’s really good to see Tommy Lee Jones, one of my favorite 90’s actors be recognized this decade with a nomination. But I’m very surprised that without any premeditated planning, voters were able to vote him in for the Valley of Elah.

The presenters need to pause more! Take some cues from Survivor: “And the Oscar goes to…..”

Three producers get nominated for the Oscars which is up from last year’s 2 person limit.

This is Miramax’s 4th film to win an Oscar behind Chicago, English Patient and Shakespeare in Love. Miramax is kind of known as an Oscar factory in that they aggressively promote their actors for Oscars and plan their films meticulously around Oscar season. For the record Warner Brothers Studios produced Million Dollar Baby and The Departed, Dreamworks Studio (Spielberg and Katzenberg’s company) had a 3-picture streak with American Beauty, Gladiator, and A Beautiful Mind; 20th Century Fox and Paramount co-produced Titanic (because the production was so large, they needed two studios to fund it), Lord of the Rings was New Line (off the top of my head, I’m not sure what New Line’s affiliation is but I think it’s 20th Century Fox), and I have now idea who produced Crash.

Predicting the Oscars with Dan Johnson

Here is a conversation I had with Dan Johnson at filmbabble.blogspot.com about the Oscars in which we both made our predictions :

Dan: This Oscars is hard to predict
Me: I think it's easy, except for one category
Dan: Which?
Me: I was going to say best supporting actress. Which category do you think is the hardest?
Dan: Adapted screenplay for one
Me: Ok, good point. If we went to 8 major categories, then maybe the screenplay cateogries get iffy but I think of the main 6, 5 are easy
Dan: oh yes - those are fairly easy
Me: No Country, Day-Lewis, Joel and E Coen, Christie, Bardem, and the supporting actress one is tricky
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Visual Effects:
Dan: Visual effects?
Dan: Pirates 2 won last year so seems like it will be out
Me: transformers, golden compass, and pirates 3?
Dan: Yes
Me: Transformers is so CGI heavy but the other 2 might be hurt by poor critical response

Me: None are really worthy of Oscar consideration for effects. Poor choices this year on the part of nomination.
Dan: I'm going with Golden Compass for effects
Dan: Don't know why - it just feels right
Me: Did you actually see the film?
Dan: No
Me: There's nothing that spectacular about the special effects
Dan: When I was a kid I was really angry that ET won for effects over Blade Runner
Dan: I mean come on! Frame by frame effects-wise that was wacked!
Dan: Maybe thats why I'm predicting Compass
Dan: You think Transformers will get it?
Me: ET won for effects over Blade Runner during the 1983 awards ceremony, so that was right around when i was born
Me: I think Pirates III
Me: I'd like to say that cause it did up the ante on effects even more than pirates ii
Dan: but Pirates won last year
Me: Ok, transformers it is, then
Me: i'll say transformers
Me: it's just a bit CGI heavy
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Best Documentary:
Dan: Seems like Michael Moore won't get it this time
Dan: No End In Sight may be my pick
Me: I think Michael Moore's Sicko broke new ground, there was a sort of publicity angle that Moore had changed his image and softened up, but I agree that I don't think people have warmed up to Moore that much and that Sicko didn't top Farenheit 911 for sheer cultural impact
Me: so i'd go with No End in Sight as well
Me: That's the only one of the other nominees that made a splash in the cultural landscape
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Sound Editing:
Dan: Bourne, No Country, Ratatouille, TWBB, and Transformers

Me: Um, I know nothing about sound editing and i question whether the people in the academy who aren't sound mixers even know or should be aloud to vote in this category
Dan: Yeah good point
Dan: Its a toss up, huh?
Me: the thing is, dan, i can only pay attention to so many things when i watch a film, and unlike most oscar voters, i'm secure enough to admit that i have no clue about this category
Dan: I getcha
Dan: alright then
Me: i don't know what it is, except i would just like to say unqualified, but i mean if i had to guess, maybe bourne ultimatum, certainly not ratatouille

Director:
Dan: I'm going with the Coens
Dan: It feels like their time
Me: I don't see any reason why they wouldn't get it
Dan: Of course I thought that 10 years ago with Fargo
Me: 2 of the other directors are virtual rookies Me: so they should be in the happy to be nominated cateogry, i think Schnabel's the token foreign pick
Me: well, Fargo was before Big Lebowski and Oh Brother Where Art Thou
Dan: yeah like Bill Murray would say in his old Oscar picks on SNL in the '70s "too foreign?
Me: And the cult of Big Lebowski is growing, they are the only comedic team out there that gets critical respect and is considered high art as opposed to the Farrelly Brothers or Kevin Smith. The Coens are way up there in the film industry in critical respectability, so it's there time, certainly
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Art Direction:
Dan: Art direction?
Me: I think that maybe what Pirates did well as more landscape/art direction
Dan: Amer Gangster, Atonement, Compass, Sweeny Todd, adn TWBB
Me: I don't think Atonement or Golden Compass, American Gangster was a period piece
Dan: I think Sweeny Todd
Me: But recreating 1970s harlem isn't that hard
Dan: Yeah, I don't think AG will get it
Me: I mean, Harlem hasn't changed much since the 1970s

Me: it's good to see American Gangster nominated though, it got completely overlooked
Me: But why not There Will Be Blood?
Me: I think that or Sweeny Todd, and I'll go with Blood in the end
Me: I mean a lot of detail was taken towards authenticity
Dan: I just think ST has the artsy edge over TWBB
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Cinametography:

Dan: I liked TWBB better but that's how it feels
Dan: I'm going with Assassination of Jesse James
Dan: Deakins
Me: I wish I saw that film
Dan: That's from my heart not my brain
Dan: I saw it last week
Me: I believe it was the most overlooked picture by most accounts
Me: I think No Country or Assassination cause Westerns are popular
Me: Westerns are made for cinematography, and No Country would be a far more ordinary picture if it weren't for cinematography
Dan: Yeah Deakins seems a shoe-in
Me: Not No Country?
Dan: It may win
Dan: But I feel AFJJ

Me: The way I see it No Country for Old Men is an incredibly rare film, like the French Connection in that it is basically an action movie that is going to transcend its genre and win best picture

Me: The raving reviews aren't talking about the script or the characters or the intricate storyline and plot, it's basically a cat and mouse chase that's done so perfectly that people are treating it as a complete package of a film
Me: so categories like editing and cinametography, i feel like it's hard to beat

Editing:
Dan: Diving Bell for editing
Me: What are the editing options?
Dan: Bourne, Diving Bell, Into The Wild, No Country, Blood
Me: hmmm, i think Bourne or no country
Dan: I think it will too

Dan: Are you predicting a No Country sweep?
Me: Why would you say Diving Bell?
Dan: The editing was the show in that movie. It was so full of fleeting imagery
Me: Hmmmm, interesting
Me: Well, Bourne is compared to French Connection as a perfectly edited film
Me: So it's hard to rule that out either
Dan: I'm biased because I didn't see Bourne
Me: No, i'm not predicting a sweep, because i don't think it will win best screenplay
Me: What do you think on screenplay front for adapted
Me: Can we go to that one?

Dan: Sure, that's a tough one

Screenplays:
Dan: Maybe Atonement
Me: I think There Will Be Blood, it's an x variable how well the token foreign film will do
Me: Pedro Almodovar's Talk to Her has won before
Me: I think There Will Be Blood is an interesting adaptation, from what I understand, it was a stretch for PT Anderson to adapt someone else's material when he has his own style
Dan: Blood strays too far from the source material to get it
Me: Historically, you win oscars for sticking close to it? I think Adaptation and Capote were both contenders in the adapted category and they were nothing like the source material
Dan: Not sure about that but it just seems like a loose adaptation from what I've read
Me: I think I'll say There Will Be Blood, still
Dan: okay

Dan: Original screenplay- I'll say Juno
Me: Juno's an obvious answer, I think Michael Clayton might also be in the running
Me: If Juno wins, there'll be this boring pattern established of the token quirky dramedy winning it, stemming back to Lost in Translation and Little Miss Sunshine
Dan: The Oscars are all about boring patterns!
Me: So i'd like to see Michael Clayton, but Juno's too big of a force to stop, it's managed to establish itself as a completely unique and unforseen development of a film even though we had Little Miss Sunshine last year

Song/Song:
Me: ok, song?
Me: what do you say?
Dan: from Once
Dan: people love that soundtrack
Me: Yeah, I think so
Me: Enchanted is going to cancel itself out like Dreamgirls did
Me: And score?
Dan: hmmm
Dan: that may be Atonement too
Me: 3:10 to Yuma is on my wishlist
Me: I'd love for it to win an oscar since it's my favorite film of the year
Dan: I can't remember the score in Michael Clayton
Me: Is the Atonement score memorable?
Me: James Newton Howard is a fixture in the industry, i believe, though pretty swelling classic Hollywood stuff
Me: No, i think they like variety
Me: Maybe ratatouille
Me: That would be the suprise of the ceremony, but why not
Me: How about kite runner. How was that score?
Dan: I didn't see that

Animated:
Me: For animated Persopolis vs Ratatouille?
Dan: Ratatouille, but then Happy Feet won over Cars last year
Me: Persopolis has been drawing raves
Dan: Dan: Raves but not attendence
Me: But Cars didn't make top 10 lists like Persopolis
Me: I mean Cars didn't make top ten lists like Ratatouille
Dan: I love if Persepolis won but I'm predicting the rat
Me: I think it'll be the rat because ratatouille made a lot of top 10 lists and drew in reviews

Me: But I’d like to note that Persepolis would have easily won last year or for 2005
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Acting Categories:
Dan: Best supporting actor?
Me: My personal choice is Tom Wilkinson, but Javier Bardem is unbeatable

Me: And that's good to get another good foreign actor in there

Dan: Yes - but theres usually a shocker Like Arkin last year
Me: Well, i don't feel like i have to accomodate historic patterns

Me: In 2003 and 2004, there were no shockers, in 2005 there were no shockers either, just 06 with Arkin and 02 with Brody and Zeta-Jones
Dan: me either but I like to acknowledge the mixing it up

Me: I think the main acting categories are pretty obvious, don't you think?
Me: Day-Lewis and Christie for the main acting leads, right?
Me: Some will say Courtland will beat Christie but people like Julie Christie, she's in line for a second one, and her film is picking up clout as evidenced by the fact that Away From Her was nominated for a best screenplay
Dan: I think she'll win
Dan: I'm predicting Hal Holbrook
Dan: He was the best thing about Into The Wild in my book
Me: Hal Holbrook?
Dan: Thats my wild card
Me: I don't think he'll get the beloved old person award that Martin Landau, Judi Dench, James Coburn and Alan Arkin have previously gotten
Me: Because he's not a beloved old guy
Dan: Are you kidding?
Dan: He is beloved as all. Get out

Dan: Most likely I'll be way wrong (Bardem is probably gonna get it) but I can't help but go with it, call me crazy
Me: I disagree that he’s beloved. , Alan Arkin and James Coburn were beloved icons who people felt were owed some dues
Dan: All my film friend fans love him
Me: Ok, i'm playing devil's advocate here but 10 times the number of people have heard of Alan Arkin before they've heard of Hal Holbrook
Me: I'm reading Holbrook's biography now and it looks like he was only in about 3 movies of note: Julia, Wall Street, and the Great White Hope, as well as a bunch of TV movies and Broadway
Dan: All The President's Men!
Me: Oh shit, he was deep throat in all the president's men, I didn't see that. I'll give you that. But he's not more beloved than Alan Arkin or James Coburn
Dan: Well man - all valid points but that's my wild card!
Me: Ok, what about supporting actress, that's a tough one

Dan: Blanchett so she can dedicate her Oscar to Ledger

Me: you think they'd vote based on that?
Dan: Not really but the idea is in the air and many predict her
Me: I honestly didn't think Amy Ryan was that great
Me: I wouldn't mind seeing Ryan
Dan: I have Gone Baby Gone!
Dan: I need to watch it
Me: I watched about 2/3 of it, I'll bet Amy Ryan starts to get emotional and crazy and do the good acting in the last 3rd, that's why I was unimpressed
Dan: Okay - I'll watch the movie then make my pick
Me: Do you think people are really ready to annoint Cate Blanchett twice?
Dan: Her performance was amazing
Me: It would be an interesting performance
Me: I think it will be great to see Day-Lewis honored again
Dan: I think he'll win

Me: I always felt he got the short end of the stick in Gangs of New York. What about picture?
Me: I think I’ll go with Tilda Swenson, what about picture?
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Picture:
Me: A There Will Be Blood upset would be interesting
Dan: I agree - it is tight between No country and Blood
Me: No Country's the front runner but it lacks substance, it's just a great exercise in genre recreation
Me: if There Will Be Blood is in the race at all, then i'll be strongly pulling for it
Dan: I disagree with NCFOM lacking substance
Dan: I thought it had a lot of weight
Me: Would you agree that it's something designed for a high brow crowd and will have many ordinary filmgoers scratching their heads?
Dan: I seriously don't think the Coens designed it for an intellectual demographic
Me: It really doesn't have much of a plot, don't you admit?
Me: I mean one guy chases another guy across the desert and one guy chases another guy
Dan:Why isnt that enough of a plot for you?
Me: That's what it would sound like if you were pitching the film because you don't know much about the characters?
Dan: I think you get a lot of notions of back stories
Me: Yeah, it's very subtle and back-handed
Dan: Did you read the book?
Me: No. It's subtle, I'll admit. And there's nothing to the plot other than that, I mean the storyline is incredibly bare. How would you pitch it?
Dan: A drug bust goes bad with no survivors, man comes upon it and takes large amount of money - the most evil man a brutal killer who sympbolizes a coming darkness chases him while a jaded fading sheriff follows their trail.

Dan: That's how I would pitch it
Me: I think you're mostly right
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Themes of various 2007 films

In film classes, whenever we were presenting on films, we usually had to talk about the themes behind each film. Here are themes of 2007 films. I will keep working on this as I go:



Charlie Wilson's War:

-Salvation through Professional Dedication
It's a recurring character point that the film from Charlie Wilson to Gust to Mike (the weapons expert) that none of the man might look the part that they are assigned to do and in the case of Charlie, highly immoral in every which way, but they are all 100% committed to what they're doing, they judge each other by their ability to get the job done and the film expects the audience to like Charlie and Gust based on that as well. The film never even addresses Wilson's ammoral ways because Wilson, himself (or the version of him shown on screen), never was introspective about it, and from what is shown of him at the beginning, you would think that he only cares about the perks of being a Senator but he does end up fighting tooth and nail for something and it's somewhat forced upon us the idea that his immoral ways mean nothing compared to his accomplishments. This is often a theme of Sorkin's work (which is kind of annoying) where every single character on screen happens to be 100% dedicated to their job and no lackadaisical people or slackers were ever born into the Aaron Sorkin universe.

-History repeating itself
A fairly obvious point of the film was showing that this conflict would surface again. People like Rudy Guiliani and Senator Murtha in the Charlie Wilson Story resurface in the present day as major figures and they're included in the story as a reminder of that. Also, people like Crystal, the naked girl in the hot tub, and Amy Adams' character asking "Afghanistan, where's that?" echoed the fact that when Afghanistan entered the forefront of current events after 9/11, a lot of people had a similar reaction in not knowing anything about the country of Afghanistan.

-Good vs Beuracracy
As opposed to good vs evil, beuracracy is the main enemy that Charlie Wilson battles against to reach his goal is the hurdles of beuracracy. The "evil" force, which is the Soviets is not really much of a main character in the story, and the conflict doesn't stop when the Soviets are defeated: Hammered into the quote from Charlie Wilson's book "We fucked up the endgame," is the implication that inneficient beurecrats in Washington are what messed up Afghanistan by not signing a small bill for education. Wilson's power also stems from his ability to make deals and bring people together which is what Washington is about at its best and worst.


No Country for Old Men:

-Inevitability of evil
This is a fairly obvious one. Javier's character presents a sense of inescapable dread. The idea that Tommy Lee Jones knows his time will come is somewhat of an odd one.

-Fate determined by chance
The coin flip mechanism says it all, but it's echoed by a few other developments in the film, and it seems as though Javier Bardem is a force that lives by those developments in chance and believes in enforcing them. He has no logical reason to kill Kelly McDonald's character.







Lions for Lambs:


-Children are our future

-Price of political dissillusionment







Michael Clayton:

-Money vs Truth

-Character is determined by what we chose to do when the stakes are high

-Duality




3:10 to Yuma:

-Bravery isn't defined by societal values

- Honor among thieves

- Hero worship/Perception

- Honor is earned



Mr. Magorium's Wonder Emporium:



-Adulthood as a liability


-Summoning power from within and that power is imagination







Pirates of the Carribean:



-Always a second chance



-Can't escape our destiny

Hairspray:

-"You can't stop the beat"

-Self-awareness/Coming of Age = Moral awakening

Guest blog: Academy award predictions by Anthony Gullino

Honestly guys, I have failed as a film critic this year. I caught up on films and increased the number of films I have watched from John Huston, Terry Gilliam, Tim Burton, Johnothan Demme, Billy Wilder, Wes Anderson, Mike Nicholls and a few others on home video and have seen 30+ films this year, but a great number of those films came out earlier in the year and are what I'd call summer fluff.

So, I thought I'd call upon Anthony Gullino, an acquaintance of mine who is a former film critic for the Dusquene University student newspaper and intern at the Pittsburgh film office, to contribute to my his predictions:
Ok gang. The new year is here, and the award season is upon us. Many critics groups have already handed out their prizes for the best in film of 2007 (notably, No Country for Old Men took the top prize from the National Board of Review). I'd feel confident in saying right now that No Country is a lock for a Best Picture Oscar nomination and a frontrunner for the win.But before we can get to the Oscars, the Golden Globes come first. The Hollywood Foreign Press Association (the group who decides the Globs) announced their nominees for this year's awards early Thursday morning. The Golden Globes honor both film and television, but in this blog, I'll look at the film nominations only. So.. here they are!
Best Picture - Drama
American Gangster
Atonement
Eastern Promises
The Great Debaters
Michael Clayton
No Country for Old Men
There Will Be Blood
No, your eyes do not deceive you. The HFPA nominated SEVEN films in the Best Picture - Drama category, as opposed to the usual five. (Ok, they nominated six in that category for the '04/'05 awards). I think this one is a four-way race. Michael Clayton, Eastern Promises and The Great Debaters are far off the pace for the win. At this point, all signs would point to No Country as the frontrunner. But there is something to be said for the fact that Atonement was the most nominated of all the films (with seven). I expect buzz to grow significantly for There Will Be Blood once it opens nationwide. And never count out a box office smash like American Gangster.

Best Picture - Comedy/Musical
Across the Universe
Charlie Wilson's War
Hairspray
Juno
Sweeney Todd: The Demon Barber of Fleet Street

This is a pretty open race with no real surprises here, except perhaps the exclusion of Waitress. Based on what the buzz is now and the recent critics awards, I'd say that this one is between three: Charlie Wilson's War, Juno and Sweeney Todd. The reception for all three of these has been overwhelmingly positive. That's not saying that Across the Universe and Hairspray have no shot whatsoever, but I think their only prize is the nomination itself.

Best Actor - Drama
George Clooney - Michael Clayton
Daniel Day-Lewis - There Will Be Blood
James McAvoy - Atonement
Viggo Mortensen - Eastern Promises
Denzel Washington - American Gangster
The only surprise here is Mortensen's inclusion. And the biggest injustice is the exclusion of Emile Hirsch for his dazzling performance in Sean Penn's Into the Wild. Out of the five, I think this one is between Clooney and Day-Lewis. Again, if Atonement's seven nominations are any indication of growing momentum for the film, we could see it sweep. But for now, I'll put McAvoy on a second tier with Washington, with Mortensen just off the pace from the other four.

Best Actress - Drama
Cate Blanchett - Elizabeth: The Golden Age
Julie Christie - Away from Her
Jodie Foster - The Brave One
Angelina Jolie - A Mighty Heart
Keira Knightley - Atonement
Right now, this one is Christie's to lose. She and Marion Cotillard (who is nominated in the Comedy/Musical category, even though her film is neither a comedy nor a musical) have been receiving all of the critics awards, and they have the most buzz. Who could be the spoiler in this one? Only Knightley. Blanchett has more attention for I'm Not There, and Foster and Jolie have absolutely no shot. Sorry ladies.

Best Actor – Comedy/Musical
Johnny Depp – Sweeney Todd: The Demon Barber of Fleet Street
Ryan Gosling – Lars and the Real Girl
Tom Hanks – Charlie Wilson's War
Philip Seymour Hoffman – The Savages
John C. Reilly – Walk HardI think it's safe to say this award is Depp's to lose. His stiffest competition could come from Hanks, but overall, Sweeney Todd is receiving much more praise. Reilly's nod is a bit of a head scratcher, but he's always been excellent, so in this case, he's being awarded for his talent rather than the movie itself (probably). And I must say, what an inspired and delightful choice they made in nominating Gosling.

Best Actress – Comedy/Musical
Amy Adams – Enchanted
Nikki Blonsky – Hairspray
Helena Bonham Carter – Sweeney Todd: The Demon Barber of Fleet Street
Marion Cotillard – La Môme
Ellen Page – Juno
This one goes to Cotillard, almost definitely. Not only was she triumphant as the late singer Edith Piaf, but the film is French, and this is the Hollywood Foreign Press after all.

Still, surging support for Juno puts Page right in this race. I think it's also safe to say that Adams and Blonsky, though both fantastic, are not in the running here. But within this category lies what is perhaps the biggest shocker of this year's crop of noms: NO LAURA LINNEY. Linney has been receiving rave reviews for her turn in The Savages (Some critics call it her career best performance), and her less buzzed about co-star Hoffman was nominated. If Linney is snubbed by the Screen Actor's Guild, then it's safe to say she's out of the Oscar race. But I wouldn't count the lovely Linney out quite yet.

Best Supporting Actor
Casey Affleck – The Assassination of Jesse James by the Coward Robert Ford
Javier Bardem – No Country for Old Men
Philip Seymour Hoffman – Charlie Wilson's War
John Travolta – Hairspray
Tom Wilkinson – Michael Clayton

This one pretty much looks like a no-brainer. This is Bardem's to lose, and I'd be shocked if he did lose. The one performance that could cause an upset is, shockingly, Travolta. It's unlikely, but if anyone is going to upset the frontrunner, it will be John Travolta in drag. Ugh.

Best Supporting Actress

Cate Blanchett – I'm Not There
Julia Roberts – Charlie Wilson's War
Saoirse Ronan – Atonement
Amy Ryan – Gone Baby Gone
Tilda Swinton – Michael Clayton
This is such a tough category to predict. There are three strong contenders who could all win this one: Blanchett, Ryan, and Swinton. For months, Blanchett had enormous (and deserving) buzz for her mind blowing portrayal of Bob Dylan. But once the critics started handing out their awards, Amy Ryan gathered up a few awards and some serious momentum. Still, we can't count out Tilda Swinton. Buzz for Michael Clayton has been mounting since the nominations were announced, and if the HPFA loves it enough to reward Clooney, they may just reward his co-star too. Roberts and Ronan – no shot here.Well thanks for reading my rambles.

"You want the truth, you can't handle the truth!"

I was watching the Dixie Chicks documentary "Shut Up and Sing" and first of all, very good documentary that stirred some passions in me. I think it stirred some passions in me about the way that people can interfere with each other's right to free speech and I strongly feel that we need to allow our creative minds to be able to voice their opinions without fear of repercussions. While I admire the Dixie Chicks' resolve to not let things get to them, they still got to me. There's arguments on both sides of the story. One side of the argument is that just as people have a right to voice their opinions, other people have a right to chose whether or not to buy their records. What I don't think is right, however, is to interfere with other people's choice as to whether or not to buy the records or to actively mobilize opinions and to try to influence contingents of people to boycott a record. Especially through questionable means: The right wing plays on rudimentary mislogic to try to influence large droves of God-fearing people. They present the logic: Bush=A representative of a party that traditionally associates itself with God=The wishes of God, therefore The Dixie Chicks who oppose Bush=The Devil, therefore buying=The Dixie Chicks album. They spewed this stuff out to congregations and just influenced a lot of people, it's a disgusting hijacking of religion and yes, people can chose whether to listen to the Right Wingers, but there's a lot of grey area here, and the first ammendment is capable of underestimating the power of people to be manipulated by groups who proclaim they're doing things in the name of God. I would just like to live in a country where the right wingers who supposedly have a higher moral sense than anyone else, would stop pretending their politics are in the name of God and stop preying on innocent church going people. So good for the Dixie Chicks for winning the album of the year at the Grammys.



But anyway, one scene got me thinking. Where the head of a record company straight-up lied to the camera and to congress that he wasn't ordering people to stop playing stations. He just admitted it and he got caught up in his own logic. And you know what? People can't afford to admit that they're wrong when there are millions of dollars at stake.

That was one of the themes of a recent film I saw, Michael Clayton, which features two characters on parallel descents to madness. One character, played by Tom Wilkinson slowly descends into a breach of legal ethics as he realizes that a class action law suit he has been working on for 6 years, is ethically wrong and that he is helping a corporation do something that is morally reprehensible. At the same time, Tilda Swenson's character is slowly descending into a breach of ethics (as in killing people, lying to people, swindling innocent people out of their money) as she tries to preserve the legal ethics of her job.

My dad saw the film with me and commented that Tom Wilkinson wasn't aloud to do that. And I said "how"? He said, it's a violation of legal ethics to aid the other side and disclose information. Well, in my option, our existing legal system is one that was never ethical to begin with. The idea of two opposing people spinning the same situation into two different versions of the truth that they're supposed to belive in and defend to the best of their ability, is fundamentally wrong to me.

I know this is a sweeping statement but a lot of wrongs result from the fact that in our society, it's in people's job descriptions not to tell the truth. Companies cannot admit truths like "we messed up" when billions of dollars are at stake, politicians can't admit the truth and admit mistakes because too many constituents are at stake, and lawyers can't admit the truth because it's unethical.





by the way, I have no respect for Toby Keith anymore

Michael Clayton as a piece of movie mismarketing

First of all, I saw Michael Clayton and it was a great film.

The poster for the film shows a picture of George Clooney and the film is named after his character. I personally don't believe this is a film centered around one person. Clooney might be the person with the most lines and screentime, but I saw it more as a film about a relationship between Clooney and Wilkinson. There relationship reminded me a little bit of Rain Man in that respect: a sane guy having to deal with a brilliant insane guy. Tilda Swenson and Sydney Pollack also play significant roles.

Lions for Lambs, for example, markets itself as "Cruise, Streep, Redford" and supposedly Tom Cruise is an egomaniac. Why couldn't this film have been "Clooney, Wilkinson, Pollack"?

I think the answer is that Clooney is just a humongous star right now (I personally have no problem with George Clike him, I think his star is just shining a bit too bright, in my opinion) and the best way to sell the film is to market it as a George Clooney vehicle.