12 storylines of Movies in 2006

If you look at these posts, you'll see that on top of each of my top 10 lists is a summary of the major trends of the year, and I noticed that I didn't have one for 2006. I also thought this was a unique way of characterizing what happened in films rather than just listing my favorites or whatever. Here are 2003 and 2004, and I might put up 2005 at some point
http://sophomorecritic.blogspot.com/2006/12/top-10-films-of-2003.html
http://sophomorecritic.blogspot.com/2006/12/top-10-films-of-2004.html

12 Storylines of 2006:
1. The Year of the African picture
Possibly due to the influence of Bono’s awareness campaign and the G8 conference, the movie industry this year also focused their efforts on telling stories from the African continent. Catch a Fire was set during the apartheid era in South Africa, Blood Diamond told the story of the diamond-funded civil wars in Sierra Leone, and Last King of Scotland focused on Idi Amin’s reign in Uganda. Part of the Oscar-nominated Babel took place in Morocco and even some of the Bond film Casino Royale took place in Madagascar.
2. Scorsesee finally makes an Oscar-winning picture
After two hard-fought attempts this decade, the long-suffering Martin Scorsesee finally got his due with the Boston crime thriller “The Departed.” “The Departed” branched away from Scorsese’s grandiose efforts to court Oscar voters and showed us Scorsesee getting back to what he does best. The film also featured an all-star cast at its best. It made Mark Wahlberg the year’s breakout star, and raised the profiles of Matt Damon and Leo DiCaprio who each had another notable performance in Good Shepherd and Blood Diamond respectively.
3. Clint Eastwood does it again
At a time when we thought there was nothing left to say about World War II, Eastwood gained rave reviews for “Flags of Our Fathers” and then in a truly innovative stroke told the story of the same battle from the other side’s point of view in “Letters of Iwo Jima” to capture the National Board of Review’s picture of the year earning him his 3rd Oscar Nomination in 4 years.
4. Playing franchise musical chairs
Two commercial directors, Bryan Singer and Brett Rattner took over each other’s projects in a surprising switcheroo. Rattner (Rush Hour, Red Dragon) was considered for the Warner Brothers’ new Superman project but Singer was ultimately offered the project. He jumped ship from the already-in production X-Men 3 to take the opportunity to direct Superman. Meanwhile, Rattner knew that the opportunity to direct franchise pictures of this caliber are few and far between, so he lobbied hard for the now-vacated X3 slot and got it.
5. Borat

No film might have become a bigger cultural phenomenon this past year than Borat, the improvisational work of Sacha Baron Cohen who interacted with of unknowing American passers by under the guise as a buffoonish foreign reporter to expose their prejudices. At times, it was lewd and nasty, at times hilarious, but it was always shockingly revealing. Cohen took improvisation and reality TV to a whole new level. Cohen also stretched his comedy chops with the masters of improvisational comedy: Will Ferrell, John C. Reilley and Adam McKay in Talladega Nights, a follow-up to Anchorman.

6. Book Adaptations sputter and soar
The most hyped film of the year was The Da Vinci Code, based on the controversial historical fiction thriller that had been sitting at the top of the New York Best seller column for 2 years. Set up to open the summer season with lofty box office expectations, the Ron Howard’s film had a hard time pleasing audiences and living up to an audience’s expectations that already read the book. The film still hit the benchmark for domestic success by surpassing $200 million but just barely. The adaptation of the chick lit novel Devil Wears Prada, however, was hailed by critics and audiences alike and earned an Oscar nomination for Meryl Streep. Lastly, one of the great cultural tomes of our time, the expose “Fast Food Nation,” was adapted into a fictional narrative (somewhat of a stretch) that earned a few admirers but mostly passed into and out of theaters quietly eclipsed by Oscar season contenders.
7. Documentaries
No documentary really stormed the box office like Fahrenheit 911 or March of the Penguins, but a few had a lasting impact in the pop culture landscape, including Spellbound and Shut up and Sing. One even might have saved the planet and by that I’m referring to Al Gore’s Inconvenient Truth which won him an Oscar.
8. Pirates II
Despite being inferior and more confusing than its predecessor, Pirates of the Carribean: Dead Man’s Chest shattered box office records left and right to become the commercial success of the year. It shattered the opening weekend record and became one of only seven films to cross the $400 million mark domestically.
9. Mexican Amigos
Three up-and-coming Mexican directors each had their biggest and most widely released successes to date with Babel (Alejandro Inirratu Gonzalu, previously known for 21 Grams and Amores Perros), Pan’s Labrynth (Guillermo del Toro, previously known for Hellboy), and Children of Men (Alfonso Cuaron, previously known for Y Tu Mama Tambien and Harry Potter and the Prisoner of Azkaban). The three are close friends and collaborators and their three films were all in contention for Oscars this year in every which category.

10. Altman says goodbye
The legendary director Robert Altman came out with his long-awaited Prairie Home Companion. The lightweight meditative film with allusions to death was considered one of Altman’s better efforts in the last few years and brought back some of his trademarks. Little did audiences know that the allusions to death in the picture was Altman’s way of telling us this was his final swan song. He died of a heart attack later in the year after hiding from the public for over a year and a half his chronic heart condition.

11. Frat pack breaks up
The Frat Pack (consisting of Jack Black, Luke Wilson, Owen Wilson, Ben Stiller, Steve Carrell, Will Ferrell, and Vince Vaughn) remained conspicuously detached from each other this year as they all engaged in solo projects. Black conspired with Jared Hess for Nacho Libre, Ben Stiller had another Christmas blockbuster in Night at the Museum, Luke starred opposite Uma Thurman in My Super Ex Girlfriend, Owen teamed up with Kate Hudson and Matt Dillon in You, Me and Dupree, Will Ferrell went back to Adam McKay for an Anchorman follow-up in Talladega Nights, Carrell went dramatic in Little Miss Sunshine, and Vaughn went back to Swinger’s costar Jon Favreau for The Breakup.
12. Long enough to go back to 9/11
For years, America felt that it was too soon to approach the subject of 9/11 in movies and film, but this year, America was ready to explore the events of the day in two films: Oliver Stone’s “World Trade Center” centering around two workers trapped at Ground Zero, and Paul Greengrass’s United 93, which centered on the actions aboard the rogue flight that never reached its destination.

How the Academy has scored over the years on best picture

Here's a big, grand list of how the Academy did year by year. If another film isn't listed, it means that in retrospect that film still has the critical consensus as the best film of that year.If it isn't the best film, than i mark approximately what that film is ranked among that years entries and what other films are ahead of it. This isn't my personal list, but an effort at establishing critical consensus. It would be pointless to debate "well, Crash was only my 9th favorite film of 2005." We all have different opinions. My conclusion is that we all complain a lot but the Academy has never done worse than 7th by my count.



Wings/Sunrise 3rd (Jazz Singer)
Broadway Melody of 1929
All Quiet on the Western Front
Cimarron/Little Ceaser 2nd
Grand Hotel
Clavacade/42nd Street 3rd (I Am a Fugitive from a Chain Gang)
It Happened One Night
Mutiny on the Bounty
Great Ziegfield/Dodsworth 3rd (Mr Deeds Goes to Town)
Life of Emile Zola/Awful Truth 3rd (Lost Horizon)
You Can’t Take it With You/Bringing Up Baby 4th (Jezebezel, Adventures of Robin Hood)
Gone With the Wind
Rebecca/Grapes of Wrath 3rd (His Girl Friday)
How Green was My Valley/Citizen Kane 4th (Maltese Falcon, Sullivan’s Travels)
Mrs Miniver/Yankee Doodle Dandy 2nd
Casablanca
Going My Way/Double Indemnity 5th (Laura, Meet me in St Louis, To Have and Have Not)
Lost Weekend
Best Years of Our Lives
Gentleman’s Agreement
Hamlet/Treasure of the Sierra Madre 3rd (Lady from Shanghai)
All the King’s Men
American in Paris/Streetcar Named Desire 5th (Place in the Sun, African Queen, Strangers on a Train)
Greatest Show on Earth/Singing in the Rain 3rd (High Noon)
From Here to Eternity
On the Waterfront
Marty
Around the World in 80 Days/Searchers 5th (Giant, 10 Commandments, Lust for Life)
Bridge on the River Kwai
Gigi/Vertigo 5th (Touch of Evil, Cat on a Hot Tin Roof, Defiant Ones)
Ben Hur
Apartment
West Side Story
Lawrence of Arabia
Tom Jones/Hud 7th (How the West Was Won, Lillies in the Field, Great Escape, 8 1/2, Cleopatra, Lillies in the Field)
My Fair Lady/Dr Strangelove 4th (Mary Poppins, Topaki)
Sound of Music
Man for All Seasons/Who’s Afraid of Virginia Wolff 2nd
In the Heat of the Night/Bonnie and Clyde 3rd (Graduate)
Oliver!/Lion in the Winter 4th (2001: A Space Odyssey, The Producers)
Midnight Cowboy
Patton
French Connection
Godfather
Sting/Exorcist 6th (American Graffitti, The Way We Were, Sleeper, Mean Streets)
Godfather II
One Flew Over the Cuckoo’s Nest/Nashville 2nd
Rocky/Network 4th (Taxi Driver, All the Presdietn’s Men)
Annie Hall/Star Wars 2nd
Deer Hunter
Kramer vs Kramer/Apocolypse Now 4th (Alien, Being There)
Ordinary People/Raging Bull 4th (Shining, Tess)
Chariots of Fire/Reds 4th (Raiders of the Lost Ark, On Golden Pond)
Ghandi/Tootsie 2nd
Terms of Endearment
Amadeus
Out of Africa
Platoon
Last Emperor/Broadcast News 2nd
Rain Man
Driving Miss Daisy/Born on the 4th of July 6th (Crimes and Misdemeanors, Dead Poets Society, Do the Right Thing, Glory)
Dances with Wolves/Goodfellas 2nd
Silence of the Lambs
Unforgiven
Schindler’s List
Forrest Gump/Pulp Fiction 2nd
Braveheart/Apollo 13 2nd
English Patient/Fargo 2nd
Titanic
Shakespeare in Love/Saving Private Ryan 3rd (Thin Red Line)
American Beauty
Gladiator/Traffic 2nd
A Beautiful Mind
Chicago
Lord of the Rings: ROTK
Million Dollar Baby/Aviator (3rd, Sideways)
Crash/Brokeback Mountain (3rd Munich)
Departed/Little Miss Sunshine (3rd, Babel)

The final verdict on the Oscars: Genre Pictures and Oscars

Looking back, I personally think Babel should've won because The Departed was simply near-perfect execution of a good Cops and Robbers movie, while Babel was an innovative picture that made a sweeping statement.

I think in general, genre pictures that are honored by the academy (My Fair Lady, Broadway Melody of 1929, Great Zigfield for musicals, Cimarron for Westerns, and French Connection for cops movies) can get dated pretty quickly. Whereas epics and films with sweeping statements or films that touch on relevant themes. There are obviously exceptions to this rule (i.e. The Godfather was the hallmark of gangster films and American in Paris, West Side Story and Sound of Music are among the best remembered musicals) but generally films that revolutionize and bend the genre like High Noon, McCabe and Mrs Miller, and The Searchers for Westerns or Singing in the Rain for musicals or Little Cesar or pretty much the entirety of film noir don't get recognized in their day and only get appreciated later in retrospect.

So in essence what I'm saying is that the genre pictures that really revolutionize the genre and find an innovative method of redefining it, generally don't get honored right then and there because it takes time to realize the brilliance of it. You need films to follow the particular trend that a revolutionary picture like High Noon is starting before you see how significant of a film it is. This is not neccessarily true: sometimes films that are innovative like West Side Story or the Godfather get honored, but these examples are rare and if a genre film wins, the academy usually will honor a film that executes the existing conventions well. The Departed is in no way revolutionary, but it is an excellent execution of a gangster film. It is also a personal triumph within the Martin Scorsesee canon, in that he was able to return to form. He was able to leave the grandiose ambitions with which he brought to the Aviator and Gangs of New York behind and buckle down to make a solid gangster film. However, the best picture award he received reflected more of a decision to avoid a director/picture split than it did a convincing vote for a best picture. While I concede it was a close race, I personally think that Babel was that epic thematically relevant film which was well-made and spoke to the problems facing the present.

2006: The Year of the African Picture

10 Best Science Fiction Movies of All Time

This might just be me but I usually see a sort of pattern in each year’s slate of movies. The patterns aren’t entirely exclusive by the year but a case can be made that they are brought on by trends that ebb and flow:

2001 was the year of the dark storyline. Disjointed storylines were abound in Momento, Mullholland Drive, and Vanilla Sky. And In the Bedroom and Man Who Wasn’t There were both films with dark sides. In the Bedroom was nominated for best picture and Mullholland Drive received a best director nomination and Momento received attention for best screenplay. Dark films usually come in low-grossing thrillers but these five films were higher end products that at least all started out with potential for an oscar nomination.

2002 I really couldn’t find a pattern, other than the best picture win for Chicago solidified the Return of the Musical. There are no other films in that year that reflect that trend, however.

2003 was the year of the epic with Pirates of the Carribean, Master and Commander: Far Side of the World, Last Samurai, Cold Mountain and Lord of the Rings: Return of the King. Seabiscuit also had characteristics of an epic, in that it was a big budget period piece, but it didn’t involve any kind of fighting or battles. The number of big-budget blockbusters and tent poles per year has significantly increased in the ‘00s, but usually they’re constricted to the summer. Last Samurai, Master and Commander, Cold Mountain, and Lord of the Rings: Return of the King were all released in the Oscar Season and either received Oscar nominations or significant
Oscar buzz. One could argue that Lord of the Rings had been going on for three years but a) 2003 was the year in which Lord of the Rings won and b) Return of the King was the most action-packed. The epics that followed in the next year, Alexander and Troy, were far more poorly received.

2004 was the year of the biopic with Ray, The Aviator, Finding Neverland, Kinsey, Hotel Rwanda, Beyond the Sea and Vera Drake. Three of these were nominated for best picture, Hotel Rwanda was the perennial sixth candidate, and nine of the twenty acting nominations, with Kinsey’s Liam Niesson nearly making the lead actor category 5 for 5 in biographically-based roles for the first time in Oscar history. The trend continued to some extent the following with Walk the Line and Capote but Walk the Line was considered more of a love story than its 2004 counterpart, and Capote was more of a crime story than a biopic.

2005 was the year of the social statement film with four of the five best picture nominees in Good Night and Good Luck (the suppression of the press), Crash (interracial relations), Munich (the Palestinian-Israeli conflict), and Brokeback Mountain (homosexuality). In addition, among the other Oscar contenders, there was North Country (sexual harassment), Constant Gardener (corruption in the pharmaceutical industry) and Syrianna (the energy crisis/CIA corruption). Things were getting so ridiculous that political pundits were taking summer popcorn fare like Batman Begins and Star Wars III (whose storyline was conceived before either Bush got into office) and interpreting them as left-wing or right-wing statements about the Iraq war.

This brings us to 2006 which I might call the year of the Third World or more specifically the Year of the African picture with Last King of Scotland, Catch a Fire, Babel, and Blood Diamond. This might make sense considering the success of 2004’s Hotel Rwanda and 2005’s Constant Gardener and the fact that over the last couple years Africa has become a hot-button issue. One thing that comes to mind was the Worldwide 10-City Concert that preceded the G8 Summit Conference in the summer of 2005. Bono, the chief spokesman behind the movement, was named Man of the Year by Time Magazine. Increasingly, globalization and Internet 2.0 are taking storm and have surfaced on the National consciousness as of late.
Lastly, the popular thing for celebrities to do, as demonstrated by George Clooney and his dad, Brangelina, and Madonna, is to go visit Africa firsthand.

The four above-mentioned pictures all harbored serious Oscar ambitions and were shot on location, taking us first hand to the heart of the “Dark Continent.” Pictures have been set in Africa since the days of Beat the Devil, Out of Africa, Snows of Kiliminjaro and the African Queen but the African jungles served as nothing more than a background for stories about the Western colonizers. The latest wave of pictures that has surfaced since Hotel Rwanda has focused on problems facing the indigenous people of the continent which is a massive improvement.

What this means for the Oscars is that in such a close race Babel might have added weight for being part of the year’s movie trend. Voting for Babel would be a way of acknowledging this trend of shedding light on what has been commonly referred to as “The Dark Continent.”

my oscar predictions

I've been looking through some of these oscar sites and have devised my own predictions but I think the oscar sites are having this problem of perceiving that "oscar buzz" is some sort of wildly fluctuating barometer. One of the oscar sites I went to, described "Pan's Labrynth" and "Children of Men" as surging ahead. I think in reality, film's aren't surging or falling in some kind of race, it's simply that our perception of how the films are changing as some new group comes out with an award. That might be part of the fun, anyway, that people love the oscar race so much. Nevertheless, even though i am somewhat tired, i thought i would make some predictions in the event that i am completely right and have noone to tell that to. By posting them with a timestamp that comes before the oscars are announced, i have some proof.

My predictions aren't really that far off from what anyone else has. They're in order of the degree of certainty that they'll be nominated, not n
Best Picture:
1. Departed
2. Dreamgirls
3. Babel
4. The Queen
5. Letters from Iwo Jima
Runner-Up: Little Miss Sunshine
I loved Little Miss Sunshine, but i thought i'd mix it up. I still don't see why people wouldn't vote for Letters from Iwo Jima. Honestly, though, i really can't decide between the two, but i'll take a risk. Queen, like Capote last year, is good but not great. Not grandiose or bold enough in ambition to really feel like an oscar contender, but it will unfortunately make the list anyway. Still, not so bad. To have Dreamgirls, Babel, Departed and either Letters of Little Miss Sunshine makes it a great year.

Director:
1. Martin Scorsesee, The Departed
2. Alejandro Gonzales Inarritu, Babel
3. Clint Eastwood, Letters from Iwo Jima
4. Stephen Frears, The Queen
5. Bill Condon, Dreamgirls
Runner-Up: Guillermo del Toro, Pan's Labrynth
Everyone's all over Pan's Labrynth lately, and I'm starting to think it might possibly be a masterpiece of a film that the academy would be foolish not to reward, but here in this category, i think it's a bit competitive. Iwo Jima is getting 4 star reviews all across the board and has already won a golden globe as well as the NBR, it would be foolish to think Eastwood would get left out and that some of the Iwo Jima buzz is lost. He's the success story of the decade. I also really can't see how Alejandro Gonzales Inarritu could not get a best director nom. He's one of the top 3 pictures and next to Scorsesee, i think he's the most secure director. People have their doubts about Condon a little and The Queen was seen more as a triumph in acting, but they all have a better chance than that married couple. For mixing-up purposes, I don't like, though when the directors and films match up, so perhaps i'd want Sunshine to get the picture nom and Eastwood to get the director nom.

Original Screenplay:
1. The Queen
2. Little Miss Sunshine
3. Babel
4. Stranger than Fiction
5. Pan's Labrynth
Runner-Up: Bobby
I think Bobby is an endearing piece that wins the audience over emotionally and not neccessarily technically (as in, you're thinking "what a great storyline!"). The storyline's a bit muddled up with too many unneccessary parts, but i'm rooting for it heavily. Stranger than Fiction was a superbly written screenplay and i hope it gets a part, and Pan's Labrynth I'll give Bobby's spot to. Little Miss Sunshine is very deserving.

Adapted Screenplay:
1. William Moynahan, The Departed
2. Todd Field and Tom Perrota, Little Children
3. Patrick Marber, Notes on a Scandal
4. William Boyle and Paul Haggis, Flags of Our Fathers
5. Garrison Keillor, Prairie Home Companion
Runner-Up: Bill Condon, Dreamgirls
The screenplay awards are often an unofficial top 10 list from the academy, as they give an indication of what the academy might have nominated if they were aloud 5 extra films in the best picture category. That being said, Little Children was a top 10 film, pretty much, and it's writing-heavy so people are pretty eager to reward it there. The Departed is a certainty, pretty much due to the best picture lock and due to the fact that people are familiar with the source material and like what Scorsesee and Co. did with it. Notes on a Scandal's Patrick Marber just missed out on a nomination 2 years ago for his adaptation of Closer, so he'll get rewarded here, I think. People are not considering the fondness people had for Rob Altman and that should lend itself to a screenplay nom, in my opinion. Flags, while having been overshadowed by Iwo Jima, was still considered by many people to be an impressive film, and they like what they did with the adaptation. Thank You For Smoking, I'm not rooting for and I think it was too early in the year. Devil Wears Prada, I just think is too lightweight. In fact, I'm surprised that other groups have given Devil Wears Prada such praise and I think that maybe the academy will come to their senses and realize it's not that good. Since Dremagirls is up for best picture, and Condon has a couple noms under his built, one of which was for adapting a musical to the screen, I think if the Dreamgirls love is heavy enough, he'll get a nom.

Best Actor:
1. Leo DiCaprio, Blood Diamond
2. Forest Whitaker, Last King of Scotland
3. Peter O'Toole, Venus
4. Will Smith, Pursuit of Happyness
5. Ryan Gosling, Half-Nelson
Runner-Up: Ken Wattanabe, Letters from Iwo Jima (also Sacha Baron Cohen, Borat)
I think that DiCaprio will get enough votes for both of his parts to guarantee him at least one it onto the list. In other words, even if his votes are split between two roles, you can divide his votes in half and I think he'd still make it. Whitaker, O'Toole, and Smith have been locks for a while, and while some people are thinking that Sacha Baron Cohen will make it onto the shortlist, I hope that won't happen. It's simply because Baron Cohen wasn't acting in the conventional sense and why not award it to an actor like Gosling.

Actress:
1. Helen Mirren, The Queen
2. Penelope Cruz, Volver
3. Meryl Streep, Devil Wears Prada
4. Judi Dench, Notes on a Scandal
5. Kate Winslet, Little Children
Runner-Up: Annette Benning, Running with Scissors
I think the categories been set for a while with Winslet and Benning being interchangeable. I do think Benning is the spoiler, though, and not Gyllenhall. I really don't think that many people, even among the academy, have even seen Sherrybaby, and they might not have picked it out from under their screeners.

Supporitng Actor:
1. Eddie Murphy, Dreamgirls
2. Djimon Hotsou, Blood Diamond
3. Michael Sheen, The Queen
4. Ben Affleck, Hollywoodland
5. Brad Pitt, Babel
Runner-Up: Jack Nicholson, The Departed
I'm putting two people i'd love to see in this category: Affleck and Hotsou, and balancing that with someone I don't really want, because I don't think karma would be that kind to me, to give me both Affleck and Hotsou and not have a complete dud in there as well. I think that Hotsou has a very charismatic performance and if he got a nomination for In America from an underdog position, he can certainly do it again.

Eddie Murphy, I think is rediculous. Some people remember him from his brilliant SNL days, but for someone who grew up in the 90s and haven't had a chance to see a lot of the 80's SNL episodes (they're not the ones that show in syndication, usually), Eddie Murphy to me, is a guy who makes bad movies (Pluto Nash, Showtime, Bowfinger). Still, Murphy to me is the lesser of two evils. I'm playing with karma here again, because i don't want Nicholson to be nominated again. Don't get me wrong, I like Nicholson, I just don't love him and don't want to see his legacy rise too high above other actors that I think were better than him. I realistically think it would take a miracle for him not to get the nom but here's hoping.

Ben Affleck, I think is very much still in the race as is Brad Pitt from Babel and Michael Sheen, who i didn't even particularly like, I would have trouble believing he'd be left out. A great portion of the acedemy has British roots or have performed in England in some capacity so to see someone do that good of an impression of Tony Blair can't be disregarded. I just don't like Michael Sheen though. That guy has some nerve daring to enter show business and not changing his last name. He clearly wants people to believe that he's a member of the Sheen family so he can ride the coattails of Martin and Charlie, but no sir. If it were up to me, I'd love to see Wahlberg in the top 5 for The Departed, but I don't think karma will be that kind.

Also, Jackie Earl Haley, I think came onboard a little too late. Alan Arkin doesn't have enough screentime, and I don't see the point in awarding a courtesy nomination to a veteran, when unlike Alan Alda in 2004, he already has a couple nominations under his belt and he won't win, I'm pretty sure.

Supporting Actress:
1. Jennifer Hudson, Dreamgirls
2. Rinko Kikuchi, Babel
3. Cate Blanchett, Notes on a Scandal
4. Abigail Breslin, Little Miss Sunshine
5. Adriana Barranza, Babel
Runner-Up: Emily Blunt, Devil Wears Prada
Somehow, I think Breslin or Barranza might not make it through, and I want to do something unpredictable just to distinguish myself. Everyone else has this top 5, but the bottom line is i like this line-up. I like Babel's international stars getting acclaim, I'd like to see Breslin, and while I'm not so crazy about Blanchett, she deserves it too. Personally, I felt Emily Blunt was the second best supporting female performance i saw this year (behind Meryl Streep's Prairie Home Companion turn) but I don't want to see Devil Wears Prada get too many awards. I could also see Sharon Stone getting in here.

Cinametography:
1. Babel
2. Good German
3. Apocolypto
4. Letters from Iwo Jima
5. Blood Diamond
Runner-Up: Children of Men
Good German might have gotten bad reviews but Sodebergh went to great lengths to get the film stock pretty much exactly as it was 50 years ago, i can't believe he'd be snubbed for cinematography. I think Pan's Labrynth will get a nom in the art direction category rather than this one. Blood Diamond should get a nom, in my opinion, for doing the dirty work of going on location and I think the resulting shots speak for themselves.

Art Direction:
1. Pan's Labrynth
2. Apocolypto
3. Children of Men
4. Dreamgirls
5. Bobby
Runner-Up: Letters from Iwo Jima
Bobby recreated that hotel pretty impressively, Pan's Labrynth, Apocolypto and Children of Men are all about the art direction. Dreamgirls, a lavish musical lends itself well to that stuff.

Song:
1. "Song of the Heart" Prince, Happy Feet
2. "Never Gonna Break My Faith" Arethra Franklin, Mary J Blige, Bobby
3. "A Father's Way" Seal, Pursuit of Happyness
4. "Shine on them" Nas, Blood Diamond
5. "Till the End of Time" DeVotchka, Little Miss Sunshine
Runner-Up: "Our Town" Thomas Newman, Cars
I think this is a song line-up I can live with. Blood Diamond's "Shine on Them" is about a subject which the songwriter is clearly passionate about. Seal gets a nomination for "Pursuit of Happyness" because he's Seal and he'll rock the Oscar awards ceremony. "Till the End of Time" is an awesome song that certainly complements the indie feel of the movie and adds another nomination for Little Miss Sunshine. "Never Gonna Break My Faith" is a collaboration of a past and present great and it gives a nom to Bobby which I'm happy with. Lastly, I'm not a big fan of anything called "Song of the Heart" as it sounds like a dumb song title, but since it won at the golden globes i'm inclined not to leave it out.

Costumes
1. Dreamgirls
2. Pan's Labrynth
3. Flags of Our Fathers
4. Apocolypto
5. Little Miss Sunshine
Runner-Up: Marie Antoinette
Again, since Dreamgirls is a showy musical, it's gotta have costumes. Pan's Labrynth has costumes that are impressive, I imagine. Flags of Our Fathers is a period military piece and has more recognizeable costumes than Letters and Little Miss Sunshine, I just happened to notice the way everyone in the family was dressed so much like their personalities and in colors that were finely tuned to the film's atmosphere.

Animated:
1. Happy Feet
2. Cars
3. Over the Hedge
Runner-Up: Ice Age 2
I haven't seen what anyone else put for this category but I'd imagine Happy Feet, having made the AFI top 10, is probably in. I think Cars is in and not just because it's Pixar, but because it actually is good and has some fans. Over the Hedge vs. Ice Age 2 is a harder pick. Over the Hedge was a fairly cleverly executed piece, I felt, although it was nothing special enough to stand out on its own. Still, Ice Age 2 is a sequel and sequels are just unoriginal vehicles that are designed to cash in on the popularity of their predecessor.

Visual Effects:
1. Pirates of the Carribean 2: Dead Man's Chest
2. X-Men 3
3. Superman Returns
Runner-Up: Poseidon
I think Poseidon is too CGIish to be impressive, but it has its moments. X-Men 3, possibly even more so than its predecessors had some very impressive visuals to boast. Bringing Magneto's metal-manipulating powers, Storm's hurricanes, Pyro's fire and Iceman's ice to life are all very impressive. Superman Returns was a failure of a movie because of its storyline and not because of its special effects, which even i concede were impressive. Lastly, the conversion from Bill Nighy to Davy Jones is enough to cement the visual effects oscar right there.

The rest of the categories, I'm really not qualified to give an opinion on, so I'll refrain.