Trailers at Apple.com

Great new trailers are up at Apple.com, including ones for The Prestige, a Christopher Nolan film about two warring magicians (Christian Bale and Hugh Jackman), and The Science of Sleep, another quirky film by the one who brought us The Eternal Sunshine of the Spotless Mind, Michel Gondry. This new one stars Gael Garcia Bernal. These are now among my most anticipated films of the year, a list of which I'm going to put up soon. Other notable trailers up are those of Pedro Almodovar's Volver, the female cast of which won the collective Best Actress award at Cannes, Little Miss Sunshine starring Greg Kinnear, Steve Carrell and Toni Collette, and Charlotte's Web, with Dakota Fanning, Julia Roberts, and just about everyone else in Hollywood. This promises to be a great film year.

Image from IMDb

Review: Romance & Cigarettes

Once you get past the innane musical sequences in John Turturro's Romance & Cigarettes (that's basically the first half), it's actually a decent enough film. It's a great ensemble film, with Susan Sarandon, Mary-Louise Parker, Aida Turturro, and especially Kate Winslet as Tula turning in impressive performances (does Winslet ever not?). But like I said, the first half is almost unbearable ( I was tempted several times to just turn the DVD player off), and the last half falls easily into sticky melodrama (though this is where Winslet and, in just a scene seconds long and without words, Parker, shine). If it weren't for the very capable cast, the film would be an unforgivable disaster. Grade: C+ (see how much a good cast matters?)

Review: United 93

A movie packs a greater emotional punch when you already know what tragedy will befall the characters introduced at the beginning. Paul Greengrass's United 93 is inarguably a powerful film, and Greengrass achieves this sense of familiarity and utmost sympathy with the characters without having to milk the saccharine and melodramatic for all it's worth. Packing a worthy ensemble that includes people actually involved in the real-life events playing themselves, the film quite works from beginning to chaotic then silent end. But don't expect the best acting or the steadiest camera work. In fact, if you're the type who pays attention to ever technical detail of a film to make an assessment of the whole, don't come into the theatre with such great expectations as the reviews would lead you to make. Grade: B

Updates to Predictions

I've made updates to my predictions in many of the categories, including all the majors. Check them on the sidebar.

Review: Superman Returns

Now that a flying superhero can be rendered realistically with great, advanced visual effects, DC's frontliner (along with Batman) Superman has returned to the big screen. But Superman Returns with more than just big explosions and high-speed aerial stunts (of which there many, and all are breathtakingly superb). He comes back with heart, thanks to Bryan Singer's refreshing take on the superhero. If you've had any doubts that Superman is comicdom's strongest superhero, watching this film would dispel them. Here Superman can lift continent-sized chunks of rock with very little exertion evident on his face. Is it a failing of new Superman Brandon Routh? Prettier than Kate Bosworth and with looks, mannerisms, and voice eerily reminiscent of the late Christopher Reeve, it would be easy to overlook Routh's inexperience. In this first of what would undoubtedly be a franchise, he manages to own the role and show the viewers that he's here for the long haul.

Emotionally, Superman works, though nowhere near as large in scale as on the visual level. Superman is obviously being granted a strong human aspect in all his cosmic giftedness (it has been written in many reviews that this Superman is almost Christ-like), and the last few sequences are a good instance of this, but the movie as a whole still falls short of emotionally binding us with the Man of Steel, something that both Spider-Man and Spider-Man 2 and, to a certain extent, Batman Begins, were able to do very well. Kevin Spacey, always a great actor, is not as nasty as many would have liked him to be, resorting to just giving a slight edge to the personality already established by Gene Hackman in the earlier films. Kate Bosworth could have been a tougher, more mature Lois Lane, and Eva Marie Saint is barely a presence. It is Parkey Posey who quite handily steals a lot of the moments, with her one-liners and her visible hesitation to go as evil as Lex Luthor. (Ever noticed how much Bryan Singer brings closeups to her face whenever Lex mentions doing something nasty?)

Overall, the film is wonderful and worth watching more than once, but it could have been better in terms of substance. Grade: B+

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75 Great Performances: 30-26

30. Jake Gyllenhaal as Jack Twist in Brokeback Mountain (2005)

In Brokeback Mountain, both Heath Ledger and Jake Gyllenhaal say little, though Ledger's Ennis del Mar has always been considered the more inaccessible, Gyllenhaal's Jack Twist the more adventurous. Gyllenhaal masterfully blends a sort of innocence with the intense pain of a heartbroken lover to come up with what was the true best supporting (or co-lead) performance of last year. Key scenes are when he breaks down in his truck after an abruptly ended meeting with Ennis, and during the heated encounted with Ennis near the end of the film, but even in the simplest of situations, Gyllenhaal shows how good an actor he has become.

29. Kathy Bates as Dolores Claiborne in Dolores Claiborne (1995)

Easily one of the more underrated films, Dolores Claiborne also had one of the most overlooked brilliant performances of the 90s: that of Kathy Bates as the title character. With her daughter Selena (Jennifer Jason Leigh), Dolores brings us the story of her life. She was mostly subjected to abuse, primarily from her husband Joe (recent Oscar nominee David Strathairn in a truly anger-inspiring role), in other ways also from her employer Vera (Judy Parfitt), but she managed to live through it all with the utmost dignity and strength of character. Kathy Bates has shown us how nasty scary she can be (#47), and here she shows us how vulnerable she can be. Bates is nothing short of brilliant in showing us Dolores's raw strength and fortitude and love for her daughter, and her resilience in going through the struggles of her life. Truly Bates's best work and one of the best performances sadly overlooked.

Source

28. Ji-Hyun Jun as ? in Yeopgijeogin geunyeo / My Sassy Girl (2001)

In the original cut of the film, the title character of the wonderful Korean film (one of my all-time favorite films) My Sassy Girl goes unnamed for the whole movie. Instead of it being a handicap, it increases the intrigue that one builds over beautiful Ji-Hyun Jun's character. But even without that device, the character would have still been fully realized, thanks to Ji-Hyun's amazing talent. She is highly regarded in Korea (she won a major acting award for this film), but is unfortunately less known outside her country despite her skills. In this film, she manages to make a fragile, flawed character who puts a facade of crudeness and violent impetuousity all too human and deserving of respect and love and compassion. She handles key emotional scenes extremely well. And of course it doesn't hurt that she has one of the most beautiful faces to have graced international cinema. Anyone who has seen this film won't be able to help falling for Ji-Hyun's charisma and sheer talent.

27. Nicole Kidman as Grace Margaret Mulligan in Dogville (2004)

It has been said by many that Nicole Kidman's best performances have been in small, independent films, such as Birth and The Others. It isn't difficult to agree, with such an open, honest performance as the one she gave in the Lars von Trier masterpiece Dogville. This is also one of her more subtle performances, where she is able to make Grace such a well-realized character despite her lack of words. The film ends in a way that does not sit well with everyone, but it did with me, for I wanted Grace to get what she so deserved, regardless of the way by which it is delivered. That's a testament to Kidman's masterful portrayal of the character, something that Manderlay's Grace Bryce Dallas Howard valiantly tried to give justice to.

Image from Hollywoodjesus

26. Gary Oldman as Dracula in Dracula (1992)

In a role that should have gotten him at least a nomination, Gary Oldman shows that no one can play sinister, seductively cunning villain better than he could. His legendary vampire in Francis Ford Coppola's Dracula is easily one of the 90s most memorable performances, ranging from proud (as the Count before and after his fall from grace) to grotesque (with the old visage at the dark mansion), but always superb. Former Draculas (e.g., Bela Lugosi, Christopher Lee) have left their marks and were inarguably skilled at portraying the character, but Oldman breathed life into the undead icon in ways that the others had not been able to do. Oldman makes Dracula a creature to fear, despise, and ultimately feel sympathy for, for Oldman shows us that even creatures of the damnation can love.

#s 35-31
#s 40-36
#s 45-41
#s 50-46
Introduction and #s 75-51

75 Great Performances: 35-31

35. Willem Dafoe as Jesus Christ in The Last Temptation of Christ (1988)

Willem Dafoe's eyes and lips make him look naturally scary, lending strength to his darker roles, such as Norman Osborne/Green Goblin (Spider-Man) and Max Schreck (Shadow of the Vampire). More than a decade before either film, Dafoe used his unique looks to assume the persona of the man Himself, Jesus Christ. The film itself is controversially unusual, and casting Dafoe in the role of an all-too-human Jesus would not have worked had Martin Scorsese's overlooked artwork The Last Temptation of Christ presented the same Jesus that everyone had gotten used to. But here Jesus is callous, fragile, and temperamental. The typical blue-eyed Jesuses of the Lenten TV specials would have been out-of-place in such a re-telling. Dafoe easily owned the role.

Image from IMDb

34. Bill Murray as Phil Connors in Groundhog Day (1993)

One of the best and most memorable comedies also produced what I believe is comic genius Bill Murray's best performance (yes, I have seen Lost in Translation, but not Rushmore). His Phil Connors in Groundhog Day is as nasty and acerbic as Murray could get, but it is also one of the more deserving of sympathy. What would you do if you were fated to spend the rest of your life in one day? All at the same time Murray, in his greatness, manages to make the whole experience seem maddening, exciting, promising, bittersweet, and ultimately, hopeful.

Image from IMDb

33. Robin Williams as Daniel Hillard/Mrs. Euphegenia Doubtfire in Mrs. Doubtfire (1993)

Robin Williams's second appearance on this list (he's also #37) is for one of the funniest, most memorable, and most imitated performances in recent cinema: the title role in Mrs. Doubtfire. Williams is brilliant as the burly English nanny, and it is when under those pounds of prosthetics and makeup that he achieves the most, but even as Daniel Hillard, he is nothing short of a great actor. When he pleads for the right to keep seeing his children, your heart reaches out to him, so much so that the shock over what lengths he's willing to go is far outweighed by the justification (and the sheer enjoyability of it).

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32. Dustin Hoffman as Michael Dorsey/Dorothy Michaels in Tootsie (1982)

Of course, before Robin Williams donned the suit and the mask to become a woman, the incomparable Dustin Hoffman already did it in Tootsie, and to equally hilarious and unforgettable results. How great was Hoffman? He doesn't look particularly feminine, and not as much makeup was used on him as on Williams, but he makes us believe that Dorothy Michaels is a real woman. You can very seldom go wrong with Hoffman, who gives such a quirky gravitas to any role that you can't feel that he has ever fallen short of giving his characters life.

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31. Bette Davis as Baby Jane Hudson in What Ever Happened to Baby Jane? (1962)

"Sister, sister, oh so fair, why is there blood all over your hair?" In the creepy, claustrophobic Davis-Crawford dream team-up What Ever Happened to Baby Jane?, the luminous screen legend Bette Davis is the nastiest and most bitter that she's ever been. She's a good enough actress that she can pull off practically any role, but she is arguably at her best when downright scary. Baby Jane Hudson's egomaniacal desperation makes Swanson's Norma Desmond (#38) seem a lesson in contentment. Garbed in clothes reminiscent of her faded child-star days and singing "I've Written a Letter to Daddy," serving her sister Blanche (Joan Crawford) a rat in a tray for food... Few roles are as deliciously grotesque as Baby Jane, and absolutely no one could have done it better than Bette Davis.

#s 40-36
#s 45-41
#s 50-46
Introduction and #s 75-51

75 Great Performances: 40-36

40. Robert De Niro as Leonard Lowe in Awakenings (1990)

Robert De Niro is easily ne of Hollywood's best and most respected actors, having turned in a score of unforgettable performances. His greatest, in my opinion, is one for which he was nominated for a Best Actor Oscar. Its a performance that draws you in, makes you feel the pain of the character, and causes you to lose and rekindle hope in equal measure. Robin Williams is a strong, capable co-lead, but Awakenings is undoubtedly De Niro's film, with his silent strength and perseverance.

39. Malcolm McDowell as Alexander 'Alex' de Large in A Clockwork Orange (1971)

One of cinema's most iconic, most brazenly shocking characters, Alex de Large led his droogs to orgies of ultra-violence in arguably one of the most disturbingly surreal films you can ever see. It's no horror film (a point that can be argued), but Malcolm McDowell's de Large in A Clockwork Orange is a pretty frightening character, regardless of the mental (or moral) state that he's in. The experiments themselves (and their results) are disturbing, but in the hands of a less capable and daring actor than McDowell, the film would not have been as good or memorable.

38. Gloria Swanson as Norma Desmond in Sunset Blvd. (1950)

A number of cinema's most memorable quotes ("I am big. It's the pictures that got small," "All right, Mr. DeMille. I'm ready for my closeup," etc.) come from the great dame of movies about faded stars, that vampiric Norma Desmond of Sunset Blvd., played to delicious perfection by Gloria Swanson. The way she stares at and slinks toward the camera, her illusions of grandeur, her self-importance and self-pity...Swanson, being herself something of a faded actress, was able to capture every important flicker in the spirit of Norma Desmond, creating one of the most memorable characters of all time.

37. Robin Williams as Genie in Aladdin (1992)

Who would forget Robin Williams's larger-than-life voice-acting for Genie in Aladdin? It is easily one of the most distinct voice-over performances in the history of animation. In this role, Williams was unrestrained, allowing him to give Genie more than just a voice: the animated character was given life. Countless actors have lent their voices to animated characters, but none of their performances have proved as iconic as Williams's Genie, a role that deservedly earned the great comic a special Golden Globe.

36. Linda Blair as Regan McNeill in The Exorcist (1973)

Still arguably the most frightening horror movie of all time, The Exorcist gripped its audience in terror in the year of its release, and it has barely lost its effect on moviegoers. The film brought to fore the general fear of evil, demonic possession and the precarious state of faith, shocking everyone with graphic imagery and dialogue. At the center of it all was Pazuzu's possession of the child Regan McNeill, played by then unknown Linda Blair. Though the voice of Pazuzu wasn't Blair's (Oscar-winner Mercedes McCambridge is credited for it), the body still was, and though it can be argued that the role of Pazuzu-dominated Regan is a composite of many performances, it is still essentially Blair. We cannot take away from her the sheer impact of a role that has spawned countless other cinematic head-turning, vomit-spewing demon-spawn.

#s 45-41
#s 50-46
Introduction and #s 75-51

75 Great Performances: 45-41

45. Joan Crawford as Mildred Pierce in Mildred Pierce (1945)

Steely-eyed, strong women fit Joan Crawford and contemporary Bette Davis perfectly, and it is in Mildred Pierce that Crawford masterfully assumes the role of unconditionally loving mother to a hellspawn (Ann Blyth's Veda). Crawford is one of the few actresses who can express so much with the way their eyes move, but given lines like, "I'd've rather cut off my hand!" (when she slapped daughter Veda), she is able to make the role her own and one of the most interesting characters in film-noir with so much more than her glare. She is at once a martyr and a woman of conviction, without going over the top in either persona.

Image from IMDb

44. Bette Davis as Margo Channing in All About Eve (1950)

It figures that one of cinema's most popular quotes ("Fasten your seatbelts, it's going to be a bumpy night!) should come from the great dame Bette Davis, one of the best and most acclaimed actresses of the 20th century. Never are Davis's characters the weak sort, even when fiercely, unconditionally in love (e.g., in Jezebel). In the Oscar triumph All About Eve, Davis plays the strong, no-nonsense stage actress Margo Channing delightfully, never missing a step, as if the role was made for no one else but her. That's a point that isn't easy to argue. Davis always owns her roles, and Margo Channing is definitive Bette Davis.

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43. Giulietta Masina as Cabiria in Le Notti di Cabiria (1957)

One of the most well-known and respected Italian actresses, Giulietta Masina has a knack for playing the most naive, heart-wrenching characters to great results. It would not be easy to pick a more innocent and tragic Masina character than her prostitute Cabiria in Le Notti di Cabiria (though of course, her Gelsomina in La Strada was also quite tragic). One's heart can't help but reach out to Cabiria as she struggles through her life, and it goes beyond just Masina's naturally child-like face and expressions. Masina is a truly gifted, unassuming actress the likes of which we should have more of in current cinema.

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42. Emma Thompson as Karen in Love Actually (2003)

You're probably thinking, "What the heck?" Thompson has such a short role in the delightful ensemble film Love Actually that it would be easy to look over her performance. But what a performance it is. Didn't you feel your heart and gut twist when Karen broke down after discovering her husband's (Alan Rickman) secret? Thompson was absolutely wonderful in this short scene. Much has been said (and deservedly so) of the scene in Brokeback Mountain where Michelle Williams's Alma discovers Ennis's secret relationship, but before that, there was Karen, whose heartbreak Emma Thompson handled flawlessly.

41. Peter Sellers as G/C Lionel Mandrake, President Merkin Muffley, and Dr. Strangelove in Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)

"Mein Fuhrer! I can walk!"-Dr. Strangelove
"Gentlemen, you can't fight in here! This is the War Room."-President Muffley
Two different quotes, two different characters, but same great actor. Before Eddie Murphy and Mike Myers made playing multiple characters in one movie a hilarious novelty, the incomparable Peter Sellers showed his uncanny comedic talent in the political comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, my favorite Stanley Kubrick film and one of the funniest movies ever. In a jewel of a film, Sellers manages to steal the show as a fumbling Group Captain, an all-too-serious President, and a German mad scientist. In each role, he is achingly funny, but for different reasons. It takes a truly astounding actor to be able to achieve what he had in this film.

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#s 50-46
Introduction and #s 75-51

75 Great Performances: 50-46

50. Audrey Hepburn as Princess Ann in Roman Holiday (1953)

Though this isn't what I (and I'm sure many others) consider the definitive Audrey Hepburn performance (that one has a much higher ranking in this list), it's her first major role. And she won an Oscar for it. Before all the modern runaway princess movies, there was Roman Holiday, a delightful trip to Rome with always admirable actor Gregory Peck and always charming Audrey. Though she displays here a commendable range of emotions, she is best when in her stupor (immediately after leaving her residence) and while enjoying her momentary freedom with Peck. Watching this movie will convince you (if other things haven't yet) that there is and has been no brighter, more luminous, more sincere, more real star in Hollywood than the great Audrey Hepburn.

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49. Naomi Watts as Cristina Peck in 21 Grams (2003)

In a world where de-glamming yourself physically can often win you accolades left and right, there are certain performances whose de-glamming is more emotional or spiritual than physical, and these are the roles that truly show a greatness that deserves high praise. In my film awards of 2003, I had named Charlize Theron the Best Actress. But now, in retrospect, I believe that Naomi Watts should have won that award and the Oscar for her raw, searing performance in 21 Grams. She still looks amazing, but the hauntedness in her eyes, and the crucial scene where she breaks down, and the small changes in her expressions all show the depth of emotion that Watts had invested into this performance. It easily pays off, as she gives what I think is one of the best performances in recent film history.

Image from IMDb

48. Kate Winslet as Clementine Kruczynski in Eternal Sunshine of the Spotless Mind (2004)

Not necessarily a better performance than Watts' (#49), but it definitely can be argued that this one is more memorable. Kate Winslet is always charming and vulnerable despite some hidden strength (see Sense and Sensibility, or Finding Neverland), but nowhere does she show that better than in the amazing Eternal Sunshine of the Spotless Mind. Like one reviewer had said, Winslet's Clementine is the type of girl you'd easily fall in love with and would never want to let go, whatever the circumstances. Clementine is whimsical, a fairy with as many colors in her personality as she has in her hair. If more girls were like her, the world would be much more interesting. And if there were more actresses like Kate Winslet, we wouldn't need great stories (which this film has) to see a movie.

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47. Kathy Bates as Annie Wilkes in Misery (1990)

"I'm your number one fan." In 1990, Kathy Bates played to great effect every celebrity's nightmare: the psychotic fan. Bates deservedly won the Best Actress Oscar for her performance in Misery, the adaptation of a Stephen King novel. She is undeniably chilling and terrifying, keeping Paul Sheldon (James Caan) captive on a bed and wielding a sledgehammer in arguably the most memorable way in cinematic history. In these times when fame is such an easy thing to get, it would be nice to set loose an Annie Wilkes who'll show all the wannabes what it really means to have a fan.

Image from OutNow

46. Ian McKellen as Gandalf in The Lord of the Rings: The Fellowship of the Ring (2001)

The great actor Ian McKellen is fantastic in all three Lord of the Rings films, but it is with the more vulnerable and unsure Gandalf the Grey in The Lord of the Rings: The Fellowship of the Ring that he shows the greatest range (though as I'm writing this, memories of his awesome performance in Return of the King are giving me second thoughts). Even McKellen himself has said that he prefers the role of Gandalf the Grey to that of Gandalf the White, the all-powerful version of Middle-Earth's mightiest wizard. He should have easily won the Oscar for his performance, showing depth and power of emotion despite the prosthetics, but like Alec Guinness before him (as Obi-Wan Kenobi in Star Wars), it was probably too fantastical a role for the Academy to take seriously. In both cinema and literature, there is probably no more iconic wizard than Gandalf (ok, maybe there's Harry Potter...), and McKellen was able to give him life.

Introduction and #s 75-51

75 Great Performances

I enjoy watching films in general, but I particularly love movies that are character-driven and where the actors are given the opportunity to show their range of acting. Even if the movie isn't particularly good as a whole, the Hepburns and Streeps and Blanchetts and De Niros often give astounding performances that can make the film seem much better than it actually is. As a tribute to these great actors and their unforgettable performances, I've made my list of 75 great film performances.

Some notes:
1) This is my personal list, so while I would greatly appreciate comments on my choices, I don't want to be attacked for what appears on this list. That would be a sign of sheer immaturity on your part if you do it.
2) Of the 75, I'll list #s 75-51 now, then give #s 50-1 individually (or by groups of 5) with my notes.
3) Some of the greats (e.g., Katharine Hepburn) will be conspicuously missing. In Hepburn's case, I've watched only a few of her films, and none of those are her definitive performances. If I happen to watch one before finishing my whole list, I'll find a way to give her the honor she undoubtedly deserves.
4) By "Great," I don't necessarily mean that these are in the order of quality (i.e., depth, substance) of acting. Some high-ranking performances have such rankings because they are iconic or simply unforgettable.

Anyway, here are #s 75-51:

75. Dustin Hoffman as Capt. James S. Hook in Hook (1991)
74. Glenn Close as Alex Forrest in Fatal Attraction (1987)
73. Audrey Tautou as Amélie in Le Fabuleux destin d'Amélie Poulain (2001)
72. Toshirô Mifune as Kikuchiyo in Shichinin no Samurai (1954)
71. Mike Myers as Austin Powers/Dr. Evil in Austin Powers: International Man of Mystery (1997)
70. Sissy Spacek as Carrie White in Carrie (1976)
69. Jack Nicholson as Jack Torrance in The Shining (1980)
68. Meg Ryan as Sally Albright in When Harry Met Sally... (1989)
67. Julia Roberts as Vivian Ward in Pretty Woman (1990)
66. Sigourney Weaver as Ellen Ripley in Aliens (1986)
65. Al Pacino as Lt. Col. Frank Slade in Scent of a Woman (1992)
64. Robert Downey Jr. as Charlie Chaplin in Chaplin (1992)
63. Alicia Silverstone as Cher Horowitz in Clueless (1995)
62. Tobey Maguire as Peter Parker/Spider-Man in Spider-Man 2 (2004)
61. Jack Nicholson as Col. Nathan Jessup in A Few Good Men (1992)
60. Cate Blanchett as Katharine Hepburn in The Aviator (2004)
59. Nicole Kidman as Satine in Moulin Rouge! (2001)
58. Johnny Depp as Capt. Jack Sparrow in Pirates of the Caribbean: The Curse of the Black Pearl (2003)
57. Charlize Theron as Aileen Wuornos in Monster (2003)
56. Tom Hanks as Forrest Gump in Forrest Gump (1994)
55. Kevin Spacey as Roger 'Verbal' Kint in The Usual Suspects (1995)
54. Haley Joel Osment as Cole Sear in The Sixth Sense (1999)
53. Natalie Portman as Mathilda in Leon (1994)
52. Helen Mirren as Mrs. Wilson in Gosford Park (2001)
51. Elijah Wood as Frodo Baggins in The Lord of the Rings: The Return of the King (2003)

Review: The Omen

The Omen remake, beautifully shot and adequately scored (though a far cry from the Jerry Goldsmith original), would have worked better as a film if 1) they had picked a better child actor to portray Damien, and 2) there had been less of the "jolters" that stupid American horror films are known for. The original Damien, Harvey Stephens, looked more subtly sinister, not having to frown and narrow his eyes (and not even having to say anything). Seamus Davey-Fitzpatrick, 2006's anti-Christ, awkwardly fumbles over getting the right expression of petulant evil (he never does) and has an annoying saccharine voice that rivals Jake Lloyd's. I felt some pity for Stephens when he had to be killed, but with Fitzpatrick...I was inwardly telling Robert Thorn to get on with it and end the world's misery, anti-Christ or no. The original film did not have any of the shockers that make viewers jump out of their seats, relying instead on Goldsmith's diabolical soundtrack ("Ave Satani," anyone?) to convey a sense of evil and dread. Why did director John Moore have to assume the modern formula of "more shocks, more scares?" Save that for teen-scream movies.

The other principal actors do a fine job in their respective roles, with Mia Farrow being particularly good as the nanny from hell, Mrs. Baylock. I just wish we could have seen more of her in her hysterical, maniacal glory. Grade: C+

Review: X-Men: The Last Stand

WARNING: SPOILERS!

I was as worried about how X-Men: The Last Stand would come out as many others were. After the relatively cerebral action that Bryan Singer had given us in the first two films, we had come to expect and hope for a third film, an end to the trilogy, that would match the first two in depth, substance, and emotional weight. Could Brett Ratner do it? The trailers were amazing eye-candy, but when the names of all the mutants appearing in the film started coming out, and it was announced that it would be the shortest of the three films, the consensus was, "No way." Phoenix and a war with the Brotherhood and a cure? In 1 1/2 hours? It would be a disaster!

There is inarguably much more action and visual effects this time around, and subtlety takes a slight backseat, but the emotional strength is still there, maybe even more so than in the first two films. The death of Professor X, in particular, was intense. It helped that the entire action sequence involving his demise is hands-down the best such sequence in the whole trilogy. I personally do not understand why so many people are complaining about the characterization of the mutants in this film. Granted, not much development was made in some characters, like Colossus and Kitty Pride, but in this film, more than in any other, they were truly X-MEN, with extraordinary powers, and working as a team (something they had not done much of in the first two installments). Storm (finally!), Beast (!), and of course Wolverine kicked ass, there was a Colossus-Wolverine "fastball special," Kitty showed off mastery of her powers, Iceman finally turns into ice, Phoenix is amazingly creepy and destructive with the whole "Dark Willow" vibe (missed the firebird shape, though), and Magneto is, as usual, insanely powerful. It should be every fanboy's dream movie! I guess it's the deaths of so many characters that has them nitpicking. That and the pathetic development of Rogue (such a far cry from how she is in the comics!), which I myself have hated since the first film.

I had to see the film a second time to fully appreciate it, but The Last Stand is definitely my favorite of the three. It's how an X-Men film should be. On with the 4th (they can't fool us, of course there's going to be one)! Grade: B+

And my new FYC, only my second: Famke Janssen for Best Supporting Actress. I'm sure I'm going to see better performances toward the end of the year, but she has to at least be given praise for how well she interpreted the dark, schizoid personality of Phoenix.

Helena Bonham Carter in HP5!

Odd but very welcome news. Helen McCrory has been replaced as Bellatrix Lestrange in Harry Potter and the Order of the Phoenix by the actress who should have been given the role in the first place: Helena Bonham Carter. Now I'm even more excited about this film, even though I didn't like the book on which it is based. But we have a full year and a month to wait. Click here for the story.

Review: The Da Vinci Code

I wanted to love The Da Vinci Code, but instead I got a lukewarm feeling all throughout. It was well executed in parts, with very good cinematography, but mostly it plodded along like a heavy, weighted thing that would have benefited from some slimming. And that slimming should have come as Ron Howard taking out unnecessary scenes from the source, rather than giving us what may be the most literal and exact adaptation in recent years. In the hands of a more imaginative, daring director, we probably would have been given a better film. Then again, this made me think that the book probably wasn't meant to be made into a film in the first place. The pace works in the novel, but not in the movie.

Having said all that, thumbs up to Sir Ian McKellen (in fine form, as always), Paul Bettany (chilling), and the serenely beautiful Audrey Tautou. Grade: C+

Updates to Predictions

Updates have been made to my predictions in some of the technical awards. That includes a predicted nomination (his first, if ever!) for Christopher Doyle for M. Night Shyamalan's Lady in the Water. Sure, he wasn't nominated even for fabulous past work such as in Hero, but this poster (taken from IMDb) has me giddy with excitement over the prospect of how beautiful this film is going to be visually. There's a bigger version here; zoom in and look carefully around Bryce Dallas Howard's [wonderful] visage.

Review: Mission: Impossible III

A tightly tense, exhilarating movie from start to finish, J.J. Abrams's Mission: Impossible III is a finely wrought film that proves that action movies don't have to be stupid and without substance. Granted, the plot of M:I-3 isn't necessarily the smartest you'll be seeing for some time, but the slight lapses in logic are to be forgotten amidst the heart-stopping action (with a particular highlight being the whole Vatican sequence) and intense encounters between Tom Cruise's Ethan Hunt and Philip Seymour Hoffman's Owen Davian, one of the most chilling and deliciously realized villains in recent cinema. Cold does not begin to describe him. The movie could have worked even better with more action from Hunt's IMF groupmates Declan (Jonathan Rhys Meyers) and Zhen (the exotically beautiful Maggie Q), but this is still the first real Mission: Impossible movie in that Hunt's team actually works and matters. And in her short appearance, Keri Russell kicks serious ass. She's never been this beautiful or cool. Neither has this franchise. Grade: B+

Image taken from IMDb

Gedo Senki (Legend of Earthsea) trailer

Ain't It Cool News has posted a link to a fantastic trailer of Goro Miyazaki's (yup, Hayao's son) Gedo Senki (Legends of Earthsea). Could we be possibly looking for another Oscar for Studio Ghibli this year (or the next)? It certainly looks promising. The background song is beautiful, too. This is now officially one of my most anticipated films of the year.

Review: Silent Hill

A lot of people are saying that Silent Hill is the best videogame adaptation that has ever been produced. Well, umm...I hope this isn't as good as the adaptations can get. Granted, the images are extremely creepy, and the film as a whole is visually beautiful, but the latter half had me cringing with inane dialogue, wooden acting (mainly courtesy of Laurie Holden), and, save for the nurses (graduates of the Spasm Like Sadako class), a disappearance of the demoniac creatures that made the first half very interesting. I admit that I was expecting so much more, with all the buzz, the mesmerizing trailers, and the attachment of Christophe Gans as director (I really liked his 2001 film, Le Pacte des Loups). Radha Mitchell was adequate as the mother desperate to find her daughter, despite being given terrible lines to say. As for said daughter... I read somewhere Jodelle Ferland being referred to as Canada's Dakota Fanning. Please. While Dakota is a true, fine, mature actress regardless of her age, Jodelle has the acting maturity of a puppy. I found her character more annoying than frightening or worth any sympathy for. Sorry, but I just didn't like her. Grade: C+

American Idol: Rod Stewart Week

Last night was without a doubt the best night of American Idol this year (with the 50s episode being a close second), with performances ranging from okay (Kellie) to amazing (Paris and Kat). In fact, it's hard to name the bottom 3, so I won't even try, although Kellie is definitely at the bottom. Was her humble acceptance of her failure just an act to get the audience's sympathy? Well, regardless, it was a decent gesture, and I'm sure it's going to save her. So I think it's going to be either Ace or Elliott out tonight, despite their good performances (in fact, among their best), unless by some odd, nightmarish glitch in the wheel of fate, one of the great four (Kat, Paris, Chris, Taylor) gets the boot. God forbid. Who'll go: Ace. Who should go: Kellie (well, just based on last night. If I'm to consider consistency throughout the competition, then Ace should go).

Back from the Break...

I'm back after the long Holy Week break. So what have I been doing? Aside from, of course, watching films (see sidebar), I also read the first 30 issues of Image's Invincible, a great new comic book series. Can't wait for the Heroclix line to come out. And I have been playing Square-Enix's Kingdom Hearts II, a brilliant game that's much better than the first. I haven't enjoyed a game this much in a long time; among many other good things about it, the battle system is perhaps the best that I've encountered. Try out both Invincible and Kingdom Hearts II if you have the time!

That's it for now. No Oscar prediction updates as of this moment.

Review: The Hills Have Eyes

Do all American horror films have to have characters doing stupid things that get them killed (with the possible exception of George A. Romero zombie flicks)? It's hard to sympathize with characters who bring their grisly, bloody deaths upon themselves for their lack of common sense. Before you argue simple loss of wits due to the circumstances, watch the film first and then try to justify their actions. This isn't a problem with most Asian horror films; the characters don't have to be dumb to raise the tension of a scene. In the remake of The Hills Have Eyes, it's a rule to waste bullets and shelter for senseless action. You know there's something wrong when the dog seems to be the smartest character in the film.

And please, enough of the cheap jolts of surprise. "Oh look, you thought it was a hungry mutant but it was just your brother!" Any film that has to depend on a surprise every five or so sequences has strayed into overkill territory, and completely lacks subtlety. The occasional jolter would be fine.

A note about the score: it's creepy when it has to be, but when it tries to highlight the triumphs of the film's protagonists, it's painful and cringe-worthy. It has got to be the cheesiest, most annoying piece of scoring that I've heard since Vangelis's work on Alexander.

I have yet to see the original by Wes Craven, which is widely considered to be a classic in the genre. If it's anything like this remake, I'm not interested in seeing it. The only saving grace of this film is that when it needs to be scary, it can deliver. For that, and all right, for Kathleen Quinlan's effective performance, I give this film: Grade: D.

The Simpsons Movie

27 July 2007 is the date set for the release of The Simpsons movie. It has been talked about for at least two years now, with voice actors recently stating that they're in very early pre-production stages, but the "announcement" still came as a surprise: there was a teaser accompanying some reels of Ice Age: The Meltdown (this weekend's top-grossing film at more than $70 million). Folks, we now have the [very early] frontrunner for the Animated Feature Film award in the 80th Oscars.

Image taken from IMDb

Review: Just Friends

"Forgiveness is more than saying sorry..."

Okay, having gotten that out of the way (darn that catchy song), Just Friends offers some good laughs but ultimately turns out to be just another romantic comedy. Ryan Reynolds is inconsistent and isn't as funny as he usually is; maybe if he had spent more time in the fatsuit, as I had thought he would, he would have been more consistently amusing. Despite being the object of the affections of Reynolds's character Chris Brander, Amy Smart barely registers in the film. Sure, she's pretty, but she can't hold a scene with her presence.

It's the supporting characters who make the film at least slightly worthwhile. Chris Marquette acts like a complete goofball as Chris Brander's brother Mike, and it actually works. Anna Faris, who I normally hate, has so perfected the art of imitating (if she IS imitating) the vapid, dumb blonde that she should be made to teach a special acting course, say, "How to Act Like a Bimbo." She is HILARIOUS in this film. Watch it just for her.

As I started with a line from Samantha James's (Faris) song, I'll end with the last line in that same piece: "Where are you?" I know, it's senseless, but it's funny as heck when you imagine Faris's vacant face saying it. Grade: C

Category Confusions for the 79th

As early as now, predictions for the 79th Academy Awards are already being showcased in several websites and blogs, including this one. But what's making it hard for us is the confusion regarding the categories under which actors will fall come nomination night. Not many people absolutely know, I'm certain, since most of these films have been finished yet. But just in case you do, I'd appreciate the information.

Is it me or are there more confusing possibilities than there were in previous years? Anyway, here are just a few that I could think of right now:

Javier Bardem (Goya's Ghosts): Best Actor or Best Supporting Actor? He plays a monk, not Goya himself.

Annette Bening (Running With Scissors): Best Actress or Best Supporting Actress? It's a very baity role and could very well land Bening her first Oscar win, but is her mother role really a lead performance?

Judi Dench (Notes on a Scandal): Best Actress or Best Supporting Actress? Isn't Cate Blanchett the lead in this film? Will Dame Judi's role be large enough for co-lead status?

Brad Pitt (The Assassination of Jesse James by the Coward Robert Ford): Best Actor or Best Supporting Actor? Pitt plays James, not Ford. Co-lead with Casey Affleck?

Forest Whitaker (The Last King of Scotland): Best Actor or Best Supporting Actor? Sure, the title refers to his character (a Ugandan dictator, not a Scottish monarch), but will he be sharing lead status with James McAvoy?

The actors of Flags of Our Fathers: Which one of them will be going for the lead category? My bet is still Ryan Philippe. Wouldn't it be nice to have Reese Witherspoon reading out the name of her husband as a nominee?

Review: Fearless

Jet Li obviously wanted this film to convince people that he could do more than just great martial arts and acrobatics, with his key dramatic scenes and the consistent claim that this is his last martial arts epic. And the thing is, he actually pulls it off in those key scenes, being restrained and subtle in his moments of despair. But of course, I didn't watch Fearless for that. It's no Zhang Yimou or Wong Kar Wai epic. I watched it for the fight sequences, and it delivered. The film is one that must be seen, if only for that. Also for Jay Chou's very entertaining song that accompanies the end credits. Oh, and also because it's Jet Li's last martial arts epic. Supposedly. Grade: C+

Review: MirrorMask

Let me begin by saying that I love Dave McKean's art. I read the works of Neil Gaiman, a frequent collaborator of McKean (as he is in this film), and McKean's illustrations have always been, to me, otherworldly and mesmerizingly beautiful, images snatched from a dreamscape. But how to translate all that visual mastery into a working, live-action film? I was worried, and the trailers didn't help; what I saw there had large helpings of the art that I loved, yes, but somehow it felt empty.

Oh, but it turns out that that's how it was supposed to be. From her stay in her family's circus to the bleak world of light and dark and the MirrorMask, there was supposed to be emptiness, the sort that consumes. The circus is a good starting point, as the limited cast of major players feels like a sort of wandering acting troupe, wondrous in their costumes and makeup and splendid foregrounds to McKean's uncanny visuals. Gullible sphinxes, giants that would bore the Ents, moving darkness...it's The Wizard of Oz gone wrong, askew, empty. It reminds me of the game Alice, which is being made into a film for release this year. If it has half the alien beauty of MirrorMask, it's going to be fantastic. Having said that, the film is nothing short of fantastic. And I'm hoping to see more of Stephanie Leonidas soon. Grade: B+

Image from IMDb

Review: Nanny McPhee

Emma Thompson is easily one of those actresses who works brilliantly in any film that she's in, regardless of the quality of the film as a whole. She doesn't get much of a chance in Nanny McPhee to show how astounding an actress she is, but she never once slacks or loses the strength of her onscreen presence (despite all that hideous makeup, or perhaps because of it). The film itself is a whimsical, fanciful color-fest, with the occasional dancing donkey lending it the feel of a straight-to-video children's movie. Despite similarities with Lemony Snicket's A Series of Unfortunate Events (nowhere more obvious than during the end credits), Nanny McPhee does not soar the way that surprise 2004 gem did. Perhaps it needed a deliciously humorous cameo from Meryl Streep. The short appearance by Angela Lansbury is amusing, Colin Firth is at his charming, bumbling best, and Thomas Sangster still shows signs of great promise as he did in Love Actually. Kelly Macdonald, who did very well in Gosford Park is, in my opinion, unfortunately underutilized. The way the film ends is awkward and somewhat artificial, though I find it difficult to point out exactly why. Still, the film works on an emotional level, if only for a while. Grade: B

Image from IMDb

Keisha Castle-Hughes for Best Actress?

With direction by Catherine Hardwicke (Thirteen), a cast including Keisha Castle-Hughes as the young Virgin Mary and Shoreh Aghdashloo as her sister, and a December release, Nativity seems to be poised to at least get some Oscar attention. I'm looking forward to this film a lot, if only because of my personal devotion to Mary. I don't expect this to sneak into the Best Picture race (unless it's phenomenal), but if there's someone from the film who can get a nod, it's previous nominee Castle-Hughes. I've updated my Best Actress predictions accordingly, dropping Meryl Streep (A Prairie Home Companion) for now. I know it's La Streep that we're talking about here (how dare I drop her, hehe), but her film's 9 June release just isn't too Oscar-friendly.

I've Got the McPheever!

I was not able to watch the first two seasons (Kelly and Ruben) of American Idol, only the season starting from the one won by Fantasia. But after a few weeks of seeing her, particularly after last night's 50s performances, I am convinced that Katherine McPhee has the purest, sultriest, highest-quality singing voice that I've heard from any female singer in the competition. I've got the McPheever! As Randy would say, "We've got a hot one here!" I'll so hate and stop watching A.I. if Kate gets voted out before the final 2 contestants are chosen. Right now, her only tough competition from the girls seem to be Paris and Mandisa (both great last night), with Kelly (back to her adorable self) threatening with her "It" factor. Among the guys, Chris is consistently very good, Elliott still has the best singing voice, and Taylor, though he stumbled last night in my opinion (why did he choose that song?!), has a strong fanbase that won't let him go early (thankfully). Ace and Lisa were OK last night, as was Kevin. Did you notice how much humbler he seemed to be last night? Someone probably had a talk with Chicken Little and told him to stop ruffling the feathers of birds bigger than he. Who should get voted off: Bucky for that terrible performance (it didn't help that he came after powerhouse Mandisa).

Review: V for Vendetta

Visually spectacular, vibrant, volatile, violent, V for Vendetta (sorry, can't resist adding all the v's) is an unexpected masterpiece from the genre of graphic novel adaptations. I had expected it to be good, but not THIS good. The action sequences are top notch, and though the film was written by the Wachowski brothers, you won't end up thinking that the fighting style is just a rehash of what you've seen in The Matrix. In his directorial debut, James McTeigue creates an artful film whose pace never slows, and whose power (in terms of both the messages and the visuals) grips you and never lets go. It's one of the more emotionally involving adaptations of a graphic novel to have been released recently, given how timely the themes (i.e. terrorism, repressive governments, etc.) are. And even if you don't end up thinking, "Hey, that situation seems familiar," you can't help but be drawn into the world that Alan Moore has so brilliantly created and that McTeigue has adapted with respectful creativity. While Stephen Rea, John Hurt, and of course Hugo Weaving turn in highly commendable performances (you won't get to see Weaving's face, but with that voice, who needs to be seen to be felt?), it is Natalie Portman who shines in the film. Her performance is nothing short of brilliant, allowing her to show a range that many older actresses would envy. The film works on all levels. "Remember, remember the 5th of November." Watch this film and it's something you won't soon forget. Grade: A

To the Academy: Remember, remember V for Vendetta come nomination time. I loved this film and Natalie in it so much that I'm adding a new section to the sidebar of my blog: my own FYCs. While I'd love to see the film itself up for a Best Picture award and think it worthy of such a recognition, my first FYC will be Natalie Portman for Best Actress. Remember, remember...

American Idol Final 12

Getting over the painful loss of Ayla Brown from the competition, I went home early from work to catch the Final 12 perform the theme shows for the first time. I think Simon Cowell was able to encapsulate the night in a few words. To paraphrase: the first half was just all right, while the second was brilliant. Well, to be more precise, the last four (Katharine, Taylor, Paris, Chris) were brilliant. Everyone else ranged from good (Elliott) to boring (Kelly--what happened?!) to just plain off (Melissa--yup, residual bitterness at her having survived instead of Ayla, but she did forget her lyrics and was pitchy all over). Wrong, potentially fatal song choice for Kelly. Good thing she's so adorable or else she'd be a sure goner. I actually kinda liked Kevin's performance for the first time, but he's still a terrible dancer, and that attitude is a definite turn off. It's everyone's (with the exception of Simon) fault for building up his ego. How many times has Kevin said that he was the show's sex symbol? Whatever. Reality check.

It's now a competition between Katharine McPhee and Paris Bennett for the girls, and between Taylor Hicks and Chris Daughtry for the boys. All of them were magnificent last night.

Who I hope would get eliminated tonight: Melissa McGee or Kevin Covais. Who I think will: Melissa for messing up her lyrics.

Thoughts on the 78th and Predictions for the 79th

I am one of those [few?] who are really happy that Crash won the Best Picture award at the Oscars. Several reasons: 1) It's the first big surprise win since Shakespeare in Love prevailed (deservedly) over Saving Private Ryan. I love Oscar surprises (and was hoping for one in the Supporting categories, with wins by Michelle Williams and Jake Gyllenhaal). 2) It DESERVED to win. In my humble opinion, it's the easily the most deserving winner since the glorious sweep of The Lord of the Rings: The Return of the King. Granted, Brokeback Mountain was a good film and will remain one of the most important in recent film history, but I thought it overrated. Crash was the most well-crafted film this year. 3) I got it right. I'm one of the not-so-many people who predicted that it would take the award from Brokeback Mountain. I'm glad I risked that call.

That having been said, I don't get why some people are reacting so vehemently against the win of Crash (see the article in Oscarwatch). It's personal preference, of course, but does the victory of Crash really deserve such spite? I don't think so.

Ok, that's over. It was fun, though I'm not so happy with Clooney's win. Now, I've posted my VERY EARLY predictions for the 79th Academy Awards. I'm sure I'm not the only one.

78th Academy Awards Winners

Here are the winners of the 78th Academy Awards. Categories with asterisks are those that I predicted correctly.

Best Picture*
Crash

Best Director*
Ang Lee (Brokeback Mountain)

Best Actor*
Philip Seymour Hoffman (Capote)

Best Actress*
Reese Witherspoon (Walk the Line)

Best Supporting Actor*
George Clooney (Syriana)

Best Supporting Actress
Rachel Weisz (The Constant Gardener)

Best Original Screenplay*
Paul Haggis, Bobby Moresco (Crash)

Best Adapted Screenplay*
Larry McMurtry, Diana Ossana (Brokeback Mountain)

Best Foreign Language Film*
Tsotsi

Best Animated Feature Film*
Wallace and Gromit in the Curse of the Were-Rabbit

Best Art Direction*
Memoirs of a Geisha

Best Cinematography
Memoirs of a Geisha

Best Costume Design*
Memoirs of a Geisha

Best Editing*
Crash

Best Makeup*
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

Best Original Score
Brokeback Mountain

Best Original Song*
"It's Hard Out Here For a Pimp" (Hustle & Flow)

Best Visual Effects*
King Kong

Best Sound Editing*
King Kong

Best Sound Mixing
King Kong

Best Documentary Feature*
March of the Penguins

Best Documentary Short
A Note of Triumph: The Golden Age of Norman Corwin

Best Animated Short
The Moon and the Son: An Imagined Conversation

Best Live Action Short
Six Shooter

My Film Awards 2005

Best Picture
1. King Kong
2. Crash
3. Pride & Prejudice
4. Good Night, and Good Luck.
5. Memoirs of a Geisha




6. The New World
7. Brokeback Mountain
8. Munich
9. Cinderella Man
10. Walk the Line

Best Director
1. Paul Haggis (Crash)
2. Terrence Malick (The New World)
3. Ang Lee (Brokeback Mountain)
4. Peter Jackson (King Kong)
5. George Clooney (Good Night, and Good Luck.)




6. Joe Wright (Pride & Prejudice)
7. Steven Spielberg (Munich)
8. Rob Marshall (Memoirs of a Geisha)
9. Stephen Frears (Mrs. Henderson Presents)
10. Ron Howard (Cinderella Man)

Best Actor
1. Joaquin Phoenix (Walk the Line)
2. Heath Ledger (Brokeback Mountain)
3. Philip Seymour Hoffman (Capote)
4. Terrence Howard (Hustle & Flow)
5. Russell Crowe (Cinderella Man)


6. David Strathairn (Good Night, and Good Luck.)
7. Ralph Fiennes (The Constant Gardener)
8. Eric Bana (Munich)
9. Viggo Mortensen (A History of Violence)
10. Jake Gyllenhaal (Jarhead)

Best Actress
1. Naomi Watts (King Kong)
2. Charlize Theron (North Country)
3. Reese Witherspoon (Walk the Line)
4. Felicity Huffman (Transamerica)
5. Keira Knightley (Pride & Prejudice)


6. Judi Dench (Mrs. Henderson Presents)
7. Ziyi Zhang (Memoirs of a Geisha)
8. Toni Collette (In Her Shoes)
9. Gwyneth Paltrow (Proof)
10. Joan Allen (The Upside of Anger)

Best Supporting Actor
1. Jake Gyllenhaal (Brokeback Mountain)
2. Paul Giamatti (Cinderella Man)
3. Donald Sutherland (Pride & Prejudice)
4. Terrence Howard (Crash)
5. Anthony Hopkins (Proof)


6. Soliman Cruz (Ang Pagdadalaga ni Maximo Oliveros)
7. Ryan Philippe (Crash)
8. Clifton Collins, Jr. (Capote)
9. Michael Caine (Batman Begins)
10. Matt Dillon (Crash)

Best Supporting Actress
1. Michelle Williams (Brokeback Mountain)
2. Gong Li (Memoirs of a Geisha)
3. Maria Bello (A History of Violence)
4. Rachel McAdams (The Family Stone)
5. Thandie Newton (Crash)


6. Tilda Swinton (The Chronicles of Narnia: The Lion, the Witch and the Wardrobe)
7. Rachel Weisz (The Constant Gardener)
8. Anne Hathaway (Brokeback Mountain)
9. Frances McDormand (North Country)
10. Taraji P. Henson (Hustle & Flow)

Best Original Screenplay
1. Crash
2. Good Night, and Good Luck.
3. The New World
4. Mrs. Henderson Presents
5. Cinderella Man

Best Adapted Screenplay
1. Pride & Prejudice
2. The Constant Gardener
3. Brokeback Mountain
4. Proof
5. Capote

Best Animated Feature
1. Howl's Moving Castle
2. Final Fantasy VII: Advent Children
3. Wallace & Gromit in the Curse of the Were-Rabbit







Best Score
1. Memoirs of a Geisha
2. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
3. Pride & Prejudice
4. The New World
5. Syriana

Best Song
1. "Wunderkind" (The Chronicles of Narnia: The Lion, the Witch and the Wardrobe)
2. "Isipin Mo Na Lang" (Ang Pagdadalaga ni Maximo Oliveros)
3. "It's Hard Out Here For a Pimp" (Hustle & Flow)
4. "Senkai no Yakusoku" (Howl's Moving Castle)
5. "Wonka's Welcome Song" (Charlie and the Chocolate Factory)

Best Art Direction
1. Memoirs of a Geisha
2. Harry Potter and the Goblet of Fire
3. Charlie and the Chocolate Factory
4. King Kong
5. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

Best Cinematography
1. Memoirs of a Geisha
2. The New World
3. Brokeback Mountain
4. Pride & Prejudice
5. The Constant Gardener

Best Costumes
1. Memoirs of a Geisha
2. The White Countess
3. Pride & Prejudice
4. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
5. Seven Swords

Best Makeup
1. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
2. King Kong
3. Land of the Dead
4. Star Wars Episode III: Revenge of the Sith
5. Memoirs of a Geisha

Best Visual Effects
1. King Kong
2. The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
3. Harry Potter and the Goblet of Fire
4. War of the Worlds
5. Serenity

Best Action Sequence
1. Cloud and co. vs Bahamut (Final Fantasy VII: Advent Children)
2. The war (The Chronicles of Narnia: The Lion, the Witch and the Wardrobe)
3. Harry being chased by the dragon (Harry Potter and the Goblet of Fire)
4. Kong vs the three T-rexes (King Kong)
5. The final 3-way race (Initial D)

Breakthrough Performance
1. Matthew Macfadyen (Pride & Prejudice)
2. Suzuka Ohgo (Memoirs of a Geisha)
3. William Moseley (The Chronicles of Narnia: The Lion, the Witch and the Wardrobe)
4. Nathan Lopez (Ang Pagdadalaga ni Maximo Oliveros)
5. Ashton Holmes (A History of Violence)

Best Cameo Performance
1. Ralph Fiennes (Harry Potter and the Goblet of Fire)
2. Judi Dench (Pride & Prejudice)
3. Miranda Richardson (Harry Potter and the Goblet of Fire)
4. William Hurt (A History of Violence)
5. Devon Aoki (Sin City)


Best Ensemble
1. Crash
2. Good Night, and Good Luck.
3. Sin City
4. Brokeback Mountain
5. Memoirs of a Geisha

Best One-on-One Fight
1. Peter vs Jadis (The Chronicles of Narnia: The Lion, the Witch and the Wardrobe)
2. Harry Potter vs Lord Voldemort (Harry Potter and the Goblet of Fire)
3. Marv vs Kevin (Sin City)
4. Yoda vs Emperor Palpatine (Star Wars Episode III: Revenge of the Sith)
5. Cloud vs Sephiroth (Final Fantasy VII: Advent Children)

Best Villain
1. Jadis, the White Witch (The Chronicles of Narnia: The Lion, the Witch and the Wardrobe)
2. Lord Voldemort (Harry Potter and the Goblet of Fire)
3. Emperor Palpatine (Star Wars Episode III: Revenge of the Sith)
4. Hatsumomo (Memoirs of a Geisha)
5. Kevin (Sin City)

All photos taken from IMDb

My Film Awards 2004
My Film Awards 2003

American Idol Week 2

What a boring week. Only a few standout performances, and most of the contestants played it safe with their song selections. While easily impressed Randy and Paula praised several of them who shouldn't have been so complimented, Simon was (as usual) the only sane judge who saw the flaws in performances like those of Ace Young and Kevin Covais. I'm hoping that we don't have to put up with such a snooze fest next week.

Girls
Amazing
Paris Bennett (though never near as exciting as she was last week)

Impressive
Ayla Brown (whoa! Didn't think she was this good.)
Kelly Pickler (Kawaii!)

Good
Katherine McPhee (lovely voice, boring song)
Lisa Tucker
Mandisa
Melissa McGhee

?
Brenna Gethers

Bad, but let's give her another chance
Kinnik Sky

Please end the torment
Heather Cox (valiant effort in singing a Mariah song, but what was she thinking?!)

Boys
Amazing
Elliott Yamin (darn, this guy's voice is unbelievable)
Chris Daughtry (raw and powerful, as usual)

Impressive
Taylor Hicks
Gedeon McKinney

Good
Will Makar
Jose 'Sway' Penala

Not so Good
Ace Young (pitchy, and Simon was right: he obviously struggled)

Boring
Kevin Covais (the guy cannot dance to save his life, and his voice isn't that good either)
David Radford (sure, good voice, but can't he do anything else?!)

Who I won't care to see next week
Bucky Covington (I just don't get him)