Hey Kids - Funtime Oscar Picks 2012!

So everybody is saying THE ARTIST will win Best Picture at the 84th Academy Awards this Sunday night.



I'm going with that too, but not to just go with the flow - it really feels like it's going to win.



Unfortunately I don't have that feeling with most of my other predictions, some of which I are personal preferences instead of calculated guesses (*cough* Michelle Williams). As always I'm really hoping there will be some surprises (*cough* Gary Oldman).



Here's my picks:



1. BEST PICTURE: THE ARTIST

2. BEST DIRECTOR: Michel Hazanavicius (THE ARTIST)

3. BEST ACTOR: George Clooney (THE DESCENDANTS)



4. BEST ACTRESS: Michelle Williams (MY WEEK WITH MARILYN)



5. BEST SUPPORTING ACTOR: Christopher Plummer (THE BEGINNERS)



6. BEST SUPPORTING ACTRESS: Octavia Spencer (THE HELP)



And the rest:



7. ART DIRECTION: HUGO (Dante Ferretti)



8. CINEMATOGRAPHY: THE TREE OF LIFE (Emmanuel Lubezki)



9. COSTUME DESIGN: THE ARTIST (Mark Bridges)



10. DOCUMENTARY FEATURE: PARADISE LOST 3: PURGATORY



11. DOCUMENTARY SHORT: THE TSUNAMI AND THE CHERRY BLOSSOM



12. FILM EDITING: HUGO (Thelma Schoonmaker)



13. MAKEUP: THE IRON LADY (Mark Coulier and J. Roy Helland)



14. VISUAL EFFECTS: RISE OF THE PLANET OF THE APES (Joe Letteri, Dan Lemmon, R. Christopher White, and Daniel Barrett)



15. ORIGINAL SCORE: THE ARTIST (Ludovic Bource)



16. ORIGINAL SONG: “Man or Muppet” (Bret McKenzie) (THE MUPPETS)



17. ANIMATED SHORT: THE FANTASTIC FLYING BOOKS OF MR. MORRIS LESSMORE



18. LIVE ACTION SHORT: RAJU



19. SOUND EDITING: WAR HORSE (Richard Hymns and Gary Rydstrom)



20. SOUND MIXING: HUGO (Tom Fleischman and John Midgley)



21. ORIGINAL SCREENPLAY: MIDNIGHT IN PARIS (Woody Allen)



22. ADAPTED SCREENPLAY: THE DESCENDANTS (Alexander Payne, Nat Faxon, and Jim Rash)



23. ANIMATED FEATURE FILM: RANGO



24. BEST FOREIGN FILM: A SEPARATION



We'll see how many I get wrong on Sunday night.

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The Film Babble Blog Top 10 Movies Of 2011

2011 was a pretty unremarkable year for movies.



I saw over 130 films on the big screen and the vast majority of them sucked. Few films caught on at the art houses, and the multiplexes were dominated by super hero movies and sequels - 9 out of the top 10 grossing films were sequels, and the only one that wasn't was THE SMURFS which should really tell you something about how sucky the year was.



However, there were a handful of excellent films, so here's my top 10 favorites:



1. THE TREE OF LIFE (Dir. Terrence Malick)

 

The reaction to this film has been extremely divisive (my wife hated it for example), but no other film this last year made a bigger dent into my cinematic pysche. In my review last summer, I wrote that “the visual thrust is stupefying; it’s like Malick is actually trying to capture God on film.” Read my review here.



2. HUGO (Dir. Martin Scorsese)

Scorsese's first film in 3D is very personal tribute to the magic of filmmaking, focusing on a young French boy (Asa Butterfield) who discovers the toy shop owner at the train station is the legendary Georges Méliès (Ben Kingsley), who has been called the world's first Cinemagician. It's a stunning and touching piece of work that is an amazing addition to Scorsese's incredible canon. Read my review here.



3. DRIVE (Dir. Nicolas Winding Refn)

Ryan Gosling plays a Hollywood stunt driver who moonlights as a getaway driver in this moody, stylish thriller that has a '80s retro feel. Winding Refn brings out standout performances from Gosling, Carey Mulligan, Bryan Cranston, and especially Albert Brooks, who should really get an Academy Award nomination for his turn as a murderous mobster.



4. THE ARTIST (Dir. Michel Hazanavicius)

When "talkies" start taking over cinema in the late '20s, a silent film star (Jean Dujardin) finds his fame fading while an actress dancer (Bérénice Bejo) he helped get into show business becomes a big star. It's a beautifully shot black and white (and actually silent) homage to the Golden Age of Hollywood, and I savored every second of it. Read my review here.



5. MIDNIGHT IN PARIS (Dir. Woody Allen)

This charming comedy, which features Owen Wilson as a writer who is somehow transported to Paris in the '20s, is Woody Allen's highest grossing film ever, and it's his best film since VICKY CRISTINA BARCELONA. Read my review here.



For my full reviews of the rest – please click on the highlighted titles:



6. MARTHA MARCY MAY MARLENE (Dir. Sean Durkin)



7. PAGE ONE: INSIDE THE NEW YORK TIMES (Dir. Andrew Rossi)



8. 50/50 (Dir. Jonathan Levine)



9. BRIDESMAIDS (Dir. Paul Feig)



10. RED STATE (Dir. Kevin Smith)



Man, I hope 2012 is a better year for movies.

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THE TREE OF LIFE: The Film Babble Blog Review

THE TREE OF LIFE (Dir. Terrence Malick, 2011)

This is sure to be the most debated film of the year.



Just a cursory glance at internet message boards shows that while some people are labeling it “pretentious crap,” another thread of folks are calling it “one of the best movies ever.”



Consider me in the latter camp.



For his first film since THE NEW WORLD in 2005, the none-too-prolific Terrace Malick (BADLANDS, THE THIN RED LINE) has made a non-linear epic of incredible photography, lavish reconstructions of astrological history, and classical music.



It’s an overwhelming work that obviously a lot of people simply won’t get. I myself am still trying to piece it together, but I think I get it. I think.



Through beautifully fleeting imagery, we follow Brad Pitt and Jessica Chastain as the parents of three sons in 1950s Waco, Texas. One of the sons dies, the cause of which is never explained, and the family is in mourning with Chastain asking the Heavens: “Lord, why? Where were you?”



Malick attempts to answer that question by going back to the beginning of time in a mesmerizing series of shots of thick engulfing clouds, glowing globules of every color, shining light, fire, flowing lava, etc.



History comes alive via CGI, and we even get to spend a little time with a few dinosaurs.



The visual thrust of all of this is stupefying; it’s like Malick is actually trying to capture God on film.



I’m really not sure if he succeeded, but that a film maker would try so hard and in some flashing moments appear to get so close is amazing to behold.



The timeline catches up with the ‘50s family again, as we see the boy who died being born. A strict disciplinarian, Pitt practices tough love on his boys (Hunter McCraken, Laramie Eppler, and Tye Seridan) while Chastain offers nothing but unconditional motherly love.



The vivid cinematography by four-time Oscar nominee Emmanuel Lubezki is astounding. Whether it’s exploiting the lush splendor of nature or zeroing in on the characters in emotional despair, the camera is always moving, exploring the space of every frame.



Close-ups are handled in a manner I haven’t seen in a film in ages. Even when the boys join a roving group of trouble making pre-teens, a feeling of isolation around McCracken is felt. His misguided desire to fit in with the window breaking, animal abusing brats is captured in the restless energy of the camerawork.



As the troubled eldest son Jack, McCracken is arguably the protagonist. His angry brow dominates the screen as he grows to resent his father. It’s a spare yet piercing performance – a noteworthy film debut.



An older version of Jack is played by Sean Penn, a businessman in the modern world still suffering over the loss of his brother and estranged relationship with his father. Penn’s part is one of the film’s only weaknesses. Penn, who gets more grizzled looking every movie he makes, mainly broods with his presence threatening to stop the film’s immersive flow.



As the last third becomes engulfed in surrealism, Penn is seen, suited up, wandering around a desert landscape. These images are pretty, but ultimately superfluous.



Many moviegoers (and critics) are going to be baffled by THE TREE OF LIFE. It’s a challenging and dense work that comes off at times like STAND BY ME filtered through the Kubrickian kaleidoscope of the last ten minutes of  2001: A SPACE ODYSSEY.



To me it’s not just a massive breath of fresh air during this sequel saturated summer, it’s a near masterpiece about life, death, the universe and everything.



In other words, here’s the year’s first major contender for Best Picture at the next Academy Awards.





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