Pinoy Film Focus: Temptation Island (1980)

Director: Joey Gosiengfiao

Writer: Toto Belano

Cast: Dina Bonnevie, Azenith Briones, Jennifer Cortez, Bambi Arambulo, Deborah Sun, Ricky Belmonte, Alfie Anido, Domingo Sabado, Jonas Sebastian, Tonio Gutierrez

Runtime: 115 minutes

There are few--if any--other Filipino films that are as effortlessly funny and shamelessly aware of its technical faults as Joey Gosiengfiao's high camp classic Temptation Island. In fact, it's the film's nonsensical wit and crudeness that has endeared it to many fans of Philippine cinema. That and the over-the-top acting, bitchfights and verbal lashings, and ultra memorable lines and sequences. Case in point: "What are bitches for, but to bitch around their fellow bitches!"

It's that time of the year for the Ms. Manila Sunshine beauty pageant, and four very different girls decide to join this batch of hopefuls: kolehiyala Dina (Dina Bonnevie); spoiled socialite Suzanne (Jennifer Cortez); materialistic debutante Bambi (Bambi Arambulo), whose family has fallen on hard times; and professional con-artist Azenith (Azenith Briones), who's not beyond using her sexuality to get whatever she wants. Each one joins for a different reason, but fate brings them together as finalists on a ship...which then accidentally blows up on the open ocean. They are believed by the public lost or dead at sea, but they actually find themselves on deserted island, where they are ultimately stranded without food and water. Completing the band of survivors is Suzanne's subservient maid Maria (Deborah Sun), gay pageant coordinator Joshua (Jonas Sebastian), his boy toy Ricardo (Ricky Belmonte), ship waiter Umberto (Domingo Sabado), and Dina's schoolmate Alfredo (Alfie Anido), who's secretly in love with her. What ensues is a hilarious struggle for dominance, food, and love, with bitter catfights between the four finalists threatening their peace and sanity as much as the lack of nourishment.

The laughter is practically non-stop once the film starts rolling. Cortez easily has the showiest role and the funniest lines, but the situations and how the characters react to them are what truly make the film a true comedic jewel. It's also fun to laugh at how campy and corny the whole thing is. Flawed and lowbrow, Temptation Island is truly a diamond in the rough.

And since it's difficult to resist, here's another hilarious exchange:

Bambi: Bitch!
Suzanne: Double bitch!
Joshua: Hahahaha... Rub a dub dub, two bitches in a tub!

Photo from Video 48

Pinoy Film Focus: T-Bird at Ako (1982)

(T-Bird and Me)

Director: Danny L. Zialcita

Writer: Portia Ilagan

Cast: Nora Aunor, Vilma Santos, Dindo Fernando, Tommy Abuel, Suzanne Gonzales

It could be argued that there was a time in the history of Philippine cinema when the movie-going public was divided into just two sectors: the Noranians and the Vilmanians. You were either one or the other; there was no middle ground. Both Nora Aunor (known by the moniker "Superstar") and Vilma Santos ("The Star for All Seasons") were already established, acclaimed actresses by the time bright minds came up with the brilliant idea of bringing them together in one film. The offscreen environment may have been nowhere near as exciting--definitely not as tense--as that of Hollywood's Whatever Happened to Baby Jane? starring bitter rivals Bette Davis and Joan Crawford, but the titillatingly titled T-Bird at Ako is just as energetic an acting extravaganza.

Aunor plays a tough, no-nonsense lesbian lawyer (thus the "T-bird" in the title) and Santos a bar girl with whom she falls in love. These roles easily play on their respective personas in the industry at that time, with Aunor being the less feminine of the two and Santos being known for sexier roles. Director Danny Zialcita manages to use these personas (and of course, the sheer talent of the two stalwarts) to good effect, although Aunor's Sylvia seems much more fleshed out. It is to her credit that she plays the lesbian character without fuss; it is a highly credible performance. While the supporting actors are also effective and some sequences, particularly those in the courtroom, are well made, the movie is essentially and unabashedly a vehicle for the power coupling. It is an exploitative film, in that sense, but it is certainly a local film novelty that is worth seeing, if only for the sheer delight of seeing two acting powerhouses sharing scenes.

Photo from Video 48

Pinoy Film Focus: One More Chance (2007)

Director: Cathy Garcia-Molina

Writers: Vanessa Valdez, Carmi Raymundo

Cast: John Lloyd Cruz, Bea Alonzo, Derek Ramsay, Maja Salvador

"She loved me at my worst, you had me at my best."

"Ang totoo, hanggang ngayon, umaasa pa rin ako na sabihin mong ako pa rin. Ako na lang. Ako na lang ulit." (Translation: "The truth is, until now, I'm still hoping that you'd say it's still me. Please let it be me. Let it still be me.")

Above are just two of the insanely memorable quotes that have made One More Chance such a hit among a diverse array of Filipino moviegoers. Cheesy, yes, but the film's overall sensibility and lack of pretentiousness so pervasive in the typical Filipino romance have given the film a reputation as a genuinely hip rom-com romp that ultimately resonates in the heart of anyone who has fallen in love or is fascinated with the idea of being so. As far as that genre goes, there are few modern Filipino films better than One More Chance.

Popoy (John Lloyd Cruz) and Basha (Bea Alonzo) have been a couple since they were students in the same university, the former taking a course in engineering and the latter one in architecture. Working in the same place after graduation and being part of the same social circle, they have become practically inseparable. It comes as a shock, then, to everyone--most of all to Popoy--when Basha declares that she would like to become independent and realize her own identity, both being possible only if they separate. Popoy is predictably devastated, and it takes him quite some time to recover and move on. When he finally does, an unforeseen series of events brings their paths back together, and matters become complicated for both of them.

In the hands of another director, the film could have easily turned into yet another overly saccharine melodrama, the likes of which the Filipino film industry churns out with abandon. Instead, Cathy Garcia-Molina--now one of the country's go-to directors for this sort of fare--handles the themes with care and restraint. The dialogues written by Vanessa Valdez and Carmi Raymundo are current and mostly realistic, which would in large part explain why the performances by the principal cast (with a few exceptions here and there) seem so organic. Cruz is particularly a stand-out; he cements here his reputation as the mature boy-next-door type with the right acting chops.

The ending is quite predictable, as far as the formula goes for these types of local films. That one does not mind it, or the deluge of corny quotes, is testament to how endearing the film really is. It certainly is enough to give the jaded viewer pause and make him or her give the Pinoy rom-com one more chance.

Film-Otaku Awards 2011

BEST PICTURE

HUGO


Harry Potter and the Deathly Hallows: Part II
The Artist
A Separation
War Horse
Moneyball
Young Adult
The Descendants
The Adventures of Tintin
Melancholia

BEST DIRECTOR


MARTIN SCORSESE (HUGO)

Michel Hazanavicius (The Artist)
Asghar Farhadi (A Separation)
Bennett Miller (Moneyball)
Steven Soderbergh (Contagion)
Jason Reitman (Young Adult)
Alexander Payne (The Descendants)
Tomas Alfredson (Tinker Tailor Soldier Spy)
David Fincher (The Girl with the Dragon Tattoo)
David Yates (Harry Potter and the Deathly Hallows: Part II)

BEST ACTOR

GEORGE CLOONEY (THE DESCENDANTS)


Brad Pitt (Moneyball)
Ralph Fiennes (Coriolanus)
Jean Dujardin (The Artist)
Leonardo DiCaprio (J. Edgar)
Joseph Gordon Levitt (50/50)
Koji Yakusho (13 Assassins)
Gary Oldman (Tinker Tailor Soldier Spy)
Michael Sheen (Beautiful Boy)
Christoph Waltz (Carnage)

BEST ACTRESS

GLENN CLOSE (ALBERT NOBBS)


Charlize Theron (Young Adult)
Olivia Colman (Tyrannosaur)
Keira Knightley (A Dangerous Method)
Meryl Streep (The Iron Lady)
Viola Davis (The Help)
Charlotte Gainsbourg (Melancholia)
Rooney Mara (The Girl with the Dragon Tattoo)
Michelle Williams (My Week with Marilyn)
Eugene Domingo (The Woman in the Septic Tank)

BEST SUPPORTING ACTOR

ALAN RICKMAN (HARRY POTTER AND THE DEATHLY HALLOWS: PART II)


Kenneth Branagh (My Week with Marilyn)
Andy Serkis (Rise of the Planet of the Apes)
Nick Nolte (Warrior)
Ben Kingsley (Hugo)
Viggo Mortensen (A Dangerous Method)
Patton Oswalt (Young Adult)
Arnie Hammer (J. Edgar)
Colin Firth (Tinker Tailor Soldier Spy)
Ralph Fiennes (Harry Potter and the Deathly Hallows: Part II)

BEST SUPPORTING ACTRESS

VANESSA REDGRAVE (CORIOLANUS)


Janet McTeer (Albert Nobbs)
Sareh Bayet (A Separation)
Jessica Chastain (The Help)
Octavia Spencer (The Help)
Bryce Dallas Howard (The Help)
Rinko Kikuchi (Norwegian Wood)
Berenice Bejo (The Artist)
Shailene Woodley (The Descendants)
Cate Blanchett (Hanna)

BEST SCREENPLAY

YOUNG ADULT (DIABLO CODY)

A Separation (Asghar Farhadi)
Moneyball (Steven Zaillian, Aaron Sorkin)
Another Earth (Brit Marling, Mike Cahill)
The Descendants (Alexander Payne, Nat Faxon, Jim Rash)

BEST ART DIRECTION

HUGO

Harry Potter and the Deathly Hallows: Part II
The Artist
Thor
The Tree of Life

BEST CINEMATOGRAPHY

HARRY POTTER AND THE DEATHLY HALLOWS: PART II (EDUARDO SERRA)

Hugo (Robert Richardson)
The Girl with the Dragon Tattoo (Jeff Cronenweth)
The Tree of Life (Emmanuel Lubezki)
Melancholia (Manuel Alberto Claro)

BEST COSTUME

THE ARTIST (MARK BRIDGES)

Hugo (Sandy Powell)
Thor (Alexandra Byrne)
Harry Potter and the Deathly Hallows: Part II (Jany Temime)
13 Assassins (Kazuhiro Sawataishi)

BEST MAKEUP

HARRY POTTER AND THE DEATHLY HALLOWS: PART II

The Iron Lady
Albert Nobbs
The Girl with the Dragon Tattoo
13 Assassins

BEST SCORE

THE ARTIST (LUDOVIC BOURCE)

The Girl with the Dragon Tattoo (Trent Reznor, Atticus Ross)
Harry Potter and the Deathly Hallows: Part II (Alexandre Desplat)
Contagion (Cliff Martinez)
The Adventures of Tintin (John Williams)

BEST VISUAL EFFECTS

RISE OF THE PLANET OF THE APES

Harry Potter and the Deathly Hallows: Part II
Thor
The Tree of Life
Super 8

BEST ENSEMBLE

THE HELP

Harry Potter and the Deathly Hallows: Part II
Melancholia
Bridesmaids
A Separation

84th Academy Award Winners

Motion Picture of the Year
The Artist

Achievement in Directing
Michel Hazanavicius (The Artist)

Performance by an Actor in a Leading Role
Jean Dujardin (The Artist)

Performance by an Actress in a Leading Role
Meryl Streep (The Iron Lady)

Performance by an Actor in a Supporting Role
Christopher Plummer (Beginners)

Performance by an Actress in a Supporting Role
Octavia Spencer (The Help)

Original Screenplay
Midnight in Paris

Adapted Screenplay
The Descendants

Animated Feature
Rango

Foreign Language Film
Iran (A Separation)

Art Direction
Hugo

Cinematography
Hugo

Costume Design
The Artist

Film Editing
The Girl with the Dragon Tattoo

Makeup
The Iron Lady

Music (Original Score)
The Artist

Music (Original Song)
"Man or Muppet" (The Muppets)

Sound Editing
Hugo

Sound Mixing
Hugo

Visual Effects
Hugo

Cinemanila International Film Festival

This year's Lifetime Achievement Awardee: the master of giallo, Dario Argento.

Pinoy Film Focus: Patayin Mo sa Sindak si Barbara (1974)

(Kill Barbara with Panic)

Director: Celso Ad. Castillo

Writers: Celso Ad. Castillo, Mike Relon Makiling

Cast: Susan Roces, Dante Rivero, Rosanna Ortiz, Beth Manlongat, Mary Walter

Runtime: 96 minutes

It bears easily one of the best titles of all Filipino films, invoking a sense of unstoppable supernatural fear. There are many good reasons why Patayin Mo sa Sindak si Barbara is one of many Filipinos' favorite local horror films of all time. Not even the glaring flaws of the film as a whole can take that away.

Barbara (played by Susan Roces, at one time the scream queen a la Jamie Lee Curtis of the Philippines), comes back to her childhood home for the burial of her sister Ruth (Rosanna Ortiz), who has committed suicide out of jealous rage over husband Fritz's (Dante Rivero) supposed infidelities. Barbara also takes care of Ruth's daughter, Karen (Beth Manlongat), whose behavior toward her father has turned drastically cold since her mother's suicide. A flashback reveals chilling truths: Ruth stabs herself repeated in the torso with a large shard of broken glass, and when she is about to die she transfers her spirit to Karen's doll. This sets off a series of genuinely creepy scenes involving said doll: its eyes glow menacingly, it walks, it appears bloodied and decapitated, and, best (worst?) of all, it calls Fritz from another room and says repeatedly through the phone: "I hate you. I want to kill you." The maniacal glee with which director and story writer Celso Ad. Castillo uses the doll as a tool of terror anticipates the American horror-comedy flick Child's Play by a good 14 years, but it's even more effective here in providing the right chills. The film also takes a page out of the Japanese trope of long-haired vengeance-driven spirits in white robes. Decades before world cinema began to churn out imitations of Ringu's Sadako, Patayin's Ruth was haunting cemeteries, mansions, and rest-houses.

The film as a whole, unfortunately, is a large mess. The editing woes that plague many Filipino movies past and present are quite evident, with choppy sequences and rough transitions. Even the acting by the quite stellar cast is not very impressive, with the exception of the diabolical brilliance of Ortiz as spurned Ruth (ok, Roces screams quite well). The ending is also disappointing and senselessly empty. But as earlier stated, these cannot remove the power of those individual scenes that ultimately make Patayin such an effective story of vengeance from beyond the grave. With an appropriately repetitive, chilling score in the background, the sequences that are supposed to be terrifying truly are, and at the end that is what really matters in a horror movie. As Barbara fends off attacks by the restless spirit, waving her bloody arms in defense, she screams at her sister that this is no longer her world and that she must leave. The relentlessness of the spiritual assaults makes both impatient and appreciative viewers share Barbara's sentiments. As the title suggests, the film wears down, both with its technical travesties and its terror, but thankfully more so with the latter.

Image from Video 48

Pinoy Film Focus: Kulay Dugo ang Gabi (1964)

(Blood is the Color of the Night / The Blood Drinkers)

Director: Gerardo de Leon

Writers: Cesar Amigo, Rico Bello Omagap

Cast: Amalia Fuentes, Eddie Fernandez, Ronald Remy, Mary Walter, Celia Rodriguez

Runtime: 88 minutes

In the history of Philippine cinema, the name of the great Gerardo de Leon is enshrined for his invaluable contributions as early as the 1930s. These include several adaptations of the works of national hero Jose Rizal (Noli me Tangere, El Filibusterismo, and Sisa), as well as award-winning gems like Sawa sa Lumang Simboryo (Python at the Old Dome), The Moises Padilla Story, and Banaue.

Like most of the major international film auteurs, de Leon has dabbled in that genre enjoyed by many but scoffed at by many high-brow cineastes: horror. In the 1960s and 1970s, he joined fellow Filipinos Eddie Romero and Cirio Santiago in bringing Filipino films, co-produced by Americans and dubbed in English, to drive-in theaters and grindhouses. Many of these were cheap-looking horror films that nevertheless intrigued foreign movie-goers and showcased the talents of Filipino filmmakers. De Leon's Terror is a Man is probably the most famous and well regarded of these, but his "Blood Collection" merits special attention, if only for their very interesting take on vampires.

Kulay Dugo ang Gabi (Blood is the Color of the Night, really, but released with the more sensationalized title The Blood Drinkers) features Ronald Remy as the brooding vampire Dr. Marco, whose true love Katrina (Amalia Fuentes) has died. He attempts to resurrect her with lots of human blood and a new heart. He intends to get the heart from Katrina's twin sister, Charito, also played by Fuentes (presumably because, as a doctor of sorts, he knows that any other heart would likely be rejected by Katrina's body...or perhaps it's for a purely supernatural nonsensical reason). Despite phasing and hypnotic powers, hunchback and dwarf henchmen, and a bat familiar named Basrah, his attempts are continually thwarted, ultimately with a flare gun and the strong religious faith of a Catholic priest.

It is not supposed to work, what with Basrah being quite obviously a pathetic stuffed toy hanging by a string and with the heavy-handed, preachy speeches about faith in Jesus Christ saving everyone from evil. But it does. It's mainly because of the cinematography--the fog and the red tint to evil evenings that gives the film its name--and the vampire caricature played with gusto by Remy, but the small flourishes also work. The phasing powers, the ingenious use of flare guns, Dr. Marco himself using a gun (a vampire with a gun!), the unrequited right-hand woman (alluring Celia Rodriguez in her prime)... It all makes for a fascinating entry in the annals of vampire cinema that should be watched and appreciated by a whole new generation of horror and Filipino film enthusiasts. Certainly de Leon has produced much better films in his ouvre. But few are as deliriously fun to watch as The Blood Drinkers.

Image from Video 48

Pinoy Film Focus: Itim (1976)

(Black / Rites of May)

Director: Mike de Leon

Writers: Clodualdo del Mundo Jr., Gil Quito

Cast: Tommy Abuel, Charo Santos, Mario Montenegro, Mona Lisa

Runtime: 105 minutes

When regular Filipino moviegoers are asked what they think is the best Filipino horror film ever made, they often mention such classics as Shake Rattle & Roll and Tiyanak, alongside modern box-office hits like Feng Shui and Sukob. Few, if any at all, mention Itim, the first full-length film of highly acclaimed filmmaker and player in Philippine cinema's Second Golden Era, Mike de Leon. Notwithstanding the fact that most modern moviegoers are sadly ignorant of de Leon's oeuvre, more so his first film, Itim is not commonly lumped together with the horror films that the local industry has healthily churned out because of the subtlety of its horrific elements, which is perhaps its greatest strength.

But a horror film it is, and such an effective one at that! Where most horror films, local and otherwise, have gone the way of jolts and shocks to scare their audience, Itim goes for atmosphere. The chills here are genuine, aided to a great extent by the sparse scoring and the low-key lighting. Itim, which in English means "black," is pervasive throughout the film, from its cinematography to its story.

The film begins with a seance, immediately setting the dark, other-wordly chills that would permeate throughout. Manila-based photojournalist Jun (Tommy Abuel) returns to his hometown in Bulacan to visit his ailing father and document the Holy Week rites. He thereafter moves through a world of religious icons, lust-driven murder, and possessions by restless spirits. The latter two are effective, though low-key, taking a backseat to the rather unique Filipino horror of Catholic rites and fanaticism. If there is anything that Filipino horror filmmakers could play upon to distinguish our horror cinema from those of our Asian neighbors, it would be that religious fervor and the dependence on santos (depictions, usually statues, of religious icons). Itim does it in spades; a particularly chilling scene here is where Jun has a nightmare of a roomful of santos coming to life and attacking him. Perhaps no other film has used this tool since Itim, or at least nowhere near as effectively.

Itim would be the first of Mike de Leon's cinematic jewels. That he started with a horror film is interesting, given how most other auteurs would make theirs after they have established their careers with the more usual genres. He would later re-visit the genre with the brilliant Kisapmata (In Just the Wink of an Eye; 1981), which is a story of familial violence and sadism that many critics consider to be even more of a horror film than Itim. Nevertheless, Itim gives us an early indication of the artistry and mastery of the craft that de Leon, formerly a cinematographer to revered Lino Brocka, is well loved for by cineastes. Itim is easily a top-caliber ghost story and an excellent example of Filipino film overall.

Philippine Oscar Entry: Ang Babae sa Septic Tank

The Film Academy of the Philippines (FAP), which has been officially deciding on the Philippines's entry to the Academy Awards since 1984, has selected Ang Babae sa Septic Tank this year (official press release here). I believe that this is the best choice among their options (which includes Zombadings 1: Patayin sa Shokot si Remington, which I otherwise loved) because of the following:

- The film pokes fun at the common trappings (or tropes, if you will) of local indie films, from the slow takes and lack of dialogue to the urban poor setting. In this way, the film does not take itself or its own identity as an indie film too seriously, while still paying homage to the efforts of indie filmmakers past and present. The international community has seen many of our indies and may be over-saturated with the tropes, so it's refreshing to have a film that revels in its own indie sensibilities while otherwise scrutinizing its predecessors.

- It is a film about filmmaking, and a film targeting the Oscars at that! Academy voters may like the reference to their institution, as they had shown in such instances as awarding Best Actress in 1979 to Dame Maggie Smith for playing an Oscar-nominated actress in California Suite (though this didn't work too well for the 2006 film For Your Consideration). Similar foreign-language films on the industry, like Francois Truffaut's Day for Night (winner of Best Foreign Language Film in 1974) and Giuseppe Tornatore's Cinema Paradiso (winner of the category in 1990), have been well received. This year, the French film The Artist, which is about an actor facing the potential demise of silent cinema in the wake of the introduction of sound, is being significantly buzzed as a potential Best Picture nominee.

- The film is extremely well acted, from the principal actors to the minors. Eugene Domingo is, as usual, excellent, and one of her key scenes here is the "Three Types of Acting" scene (you can see it here). Voters might eat that up. Generally, acting showcases are highly regarded by the Academy.

The problem with Zombadings, which I imagine would have been among the other top choices of the FAP Oscar committee given its critical and box office performance, is that a lot (or all) of the fun of it will be lost in translation. How can non-Filipino speakers know the difference between normal Filipino and the gay lingo?

I personally love the choice that FAP has made this year and commend them for it. Hopefully, the film gets at least a limited run in US theaters so as to make it eligible for the Golden Globes and other pre-Oscar awards, so that the momentum takes it to a place where no other Filipino film has gone before.

Film-Otaku Awards 2010

BEST PICTURE

THE SOCIAL NETWORK


2. The King's Speech
3. Inception
4. Black Swan
5. Toy Story 3
6. True Grit
7. Harry Potter and the Deathly Hallows: Part I
8. Let Me In
9. Rabbit Hole
10. Get Low

BEST DIRECTOR

CHRISTOPHER NOLAN (INCEPTION)


2. David Fincher (The Social Network)
3. Darren Aronofsky (Black Swan)
4. Tom Hooper (The King's Speech)
5. Ethan and Joel Coen (True Grit)
6. Ben Affleck (The Town)
7. Danny Boyle (127 Hours)
8. John Cameron Mitchell (Rabbit Hole)
9. Roman Polanski (The Ghost Writer)
10. David Yates (Harry Potter and the Deathly Hallows: Part I)

BEST ACTOR

COLIN FIRTH (THE KING'S SPEECH)


2. Ryan Gosling (Blue Valentine)
3. Robert Duvall (Get Low)
4. Leonardo DiCaprio (Shutter Island)
5. Aaron Eckhart (Rabbit Hole)
6. Leonardo DiCaprio (Inception)
7. Aaron Johnson (Nowhere Boy)
8. James Franco (127 Hours)
9. Kodi Smit-McPhee (Let Me In)
10. Jeff Bridges (True Grit)

BEST ACTRESS

NATALIE PORTMAN (BLACK SWAN)


2. Nicole Kidman (Rabbit Hole)
3. Michelle Williams (Blue Valentine)
4. Annette Bening (The Kids are All Right)
5. Julianne Moore (The Kids are All Right)
6. Jennifer Lawrence (Winter's Bone)
7. Hailee Steinfeld (True Grit)
8. Carey Mulligan (Never Let Me Go)
9. Annette Bening (Mother and Child)
10. Hilary Swank (Conviction)

BEST SUPPORTING ACTOR

CHRISTIAN BALE (THE FIGHTER)


2. Andrew Garfield (The Social Network)
3. Geoffrey Rush (The King's Speech)
4. Jeremy Renner (The Town)
5. Andrew Garfield (Never Let Me Go)
6. Jackie Chan (The Karate Kid)
7. Vincent Cassell (Black Swan)
8. Michael Douglas (Wall Street: Money Never Sleeps)
9. John Hawkes (Winter's Bone)
10. Sam Rockwell (Conviction)

BEST SUPPORTING ACTRESS

MELISSA LEO (THE FIGHTER)


2. Amy Adams (The Fighter)
3. Anne Marie-Duff (Nowhere Boy)
4. Kimberly Elise (For Colored Girls)
5. Naomi Watts (Mother and Child)
6. Jackie Weaver (Animal Kingdom)
7. Kristin Scott Thomas (Nowhere Boy)
8. Carey Mulligan (Wall Street: Money Never Sleeps)
9. Helena Bonham Carter (The King's Speech)
10. Juliette Lewis (Conviction)

BEST SCREENPLAY

DAVID SEIDLER (THE KING'S SPEECH)

2. Christopher Nolan (Inception)
3. Aaron Sorkin (The Social Network)
4. Michael Arndt (Toy Story 3)
5. Mark Heyman, Andres Heinz, John J. McLaughlin (Black Swan)

BEST ART DIRECTION

TRON: LEGACY

2. Inception
3. Harry Potter and Deathly Hallows: Part I
4. The King's Speech
5. Agora

BEST CINEMATOGRAPHY

WALLY PFISTER (INCEPTION)

2. Eduardo Serra (Harry Potter and the Deathly Hallows: Part II)
3. Greig Fraser (Let Me In)
4. Roger Deakins (True Grit)
5. Matthew Libatique (Black Swan)

BEST COSTUME DESIGN

MARY ZOPHRES (TRUE GRIT)

2. Milena Canonero (The Wolfman)
3. Amy Westcott (Black Swan)
4. Colleen Atwood (Alice in Wonderland)
5. Gabriella Pescucci (Agora)

BEST MAKEUP

THE WOLFMAN

2. Inception
3. Alice in Wonderland
4. Let Me In
5. Black Swan

BEST SCORE

DAFT PUNK (TRON: LEGACY)

2. Alexandre Desplat (Harry Potter and the Deathly Hallows: Part I)
3. Trent Reznor, Atticus Ross (The Social Network)
4. Hans Zimmer (Inception)
5. Alexandre Desplat (The King's Speech)

BEST VISUAL EFFECTS

INCEPTION

2. TRON: Legacy
3. Harry Potter and the Deathly Hallows: Part I
4. Scott Pilgrim vs. the World
5. Alice in Wonderland

BEST ENSEMBLE

THE FIGHTER

2. The Kids are All Right
3. The Town
4. The Social Network
5. Inception

BEST ANIMATED FILM

TOY STORY 3

2. RPG: Metanoia
3. How to Train Your Dragon
4. Despicable Me

TOP 10 SEQUENCES OF 2010

1. The Black Swan (Black Swan)


2. The King's speech (The King's Speech)


3. Deathly hallows story (Harry Potter and the Deathly Hallows: Part I)


4. Andy giving away his toys (Toy Story 3)
5. Felix's story (Get Low)
6. "Pocket Full of Sunshine" (Easy A)
7. The apology (The Kids are All Right)
8. The confrontation (Rabbit Hole)
9. Planting the sycamore (Flipped)
10. Tommy's breakdown on the road (Never Let Me Go)

83rd Academy Award Winners

MOTION PICTURE OF THE YEAR

The King's Speech*


ACHIEVEMENT IN DIRECTING

Tom Hooper (The King's Speech)


PERFORMANCE BY AN ACTRESS IN A LEADING ROLE

Natalie Portman (Black Swan)*


PERFORMANCE BY AN ACTOR IN A LEADING ROLE

Colin Firth (The King's Speech)*


PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE

Melissa Leo (The Fighter)


PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE

Christian Bale (The Fighter)*


Original Screenplay

David Seidler (The King's Speech)*


Adapted Screenplay

Aaron Sorkin (The Social Network)*


Best Animated Feature Film

Lee Unkrich (Toy Story 3)*


Best Documentary Feature

Inside Job*


Best Foreign Language Film

In a Better World (Denmark)*


Achievement in Art Direction

Alice in Wonderland


Achievement in Cinematography

Wally Pfister (Inception)*


Achievement in Costume Design

Coleen Atwood (Alice in Wonderland)


Achievement in Film Editing

Kirk Baxter, Angus Wall (The Social Network)*


Achievement in Makeup

The Wolfman*


Achievement in Music (Original Score)

Trent Reznor, Atticus Ross (The Social Network)


Achievement in Music (Original Song)

"We Belong Together" (Toy Story 3)


Achievement in Sound Editing

Inception*


Achievement in Sound Mixing

Inception*


Achievement in Visual Effects

Inception*


Short Film (Animated)

"The Lost Thing"


Short Film (Live Action)

"God of Love"


Documentary (Short Subject)

"Strangers No More"


Score: 15/24

83rd Academy Award Nominations (and reactions)

MOTION PICTURE OF THE YEAR

The Fighter

Inception
The Kids are All Right
127 Hours
The King's Speech
The Social Network
Toy Story 3
True Grit
Winter's Bone

Score: 9/10 (predicted The Town instead of Winter's Bone). Not too surprising a lineup, when all is said and done. Winter's Bone was warming up en route to nomination morning, while The Town was cooling down with the exception of Jeremy Renner.

ACHIEVEMENT IN DIRECTING

Darren Aronofsky (Black Swan)
David O. Russell (The Fighter)
Tom Hooper (The King's Speech)
David Fincher (The Social Network)
Ethan Coen, Joel Coen (True Grit)

Score: 4/5 (predicted Nolan instead of the Coens). The Academy members really don't like Christopher Nolan, do they? Snubbed yet again. How can anyone who directed something like Inception not be nominated? Oh well.

PERFORMANCE BY AN ACTRESS IN A LEADING ROLE

Annette Bening (The Kids are All Right)
Nicole Kidman (Rabbit Hole)
Jennifer Lawrence (Winter's Bone)
Natalie Portman (Black Swan)
Michelle Williams (Blue Valentine)

Score: 4/5 (predicted Steinfeld instead of Williams). Much deserved nod for Williams. I always knew that putting Steinfeld here was risky, though I was hoping the Academy would put her in the right category.

PERFORMANCE BY AN ACTOR IN A LEADING ROLE

Javier Bardem (Biutiful)
Jeff Bridges (True Grit)
Jesse Eisenberg (The Social Network)
Colin Firth (The King's Speech)
James Franco (127 Hours)

Score: 4/5 (predicted Wahlberg instead of Bardem). Looks like the campaign of Sean Penn and Julia Roberts for Bardem worked. I predicted the Duvall snub but not for him. Sad to see the brilliant work of Ryan Gosling for Blue Valentine overlooked.

PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE

Amy Adams (The Fighter)
Helena Bonham Carter (The King's Speech)
Melissa Leo (The Fighter)
Hailee Steinfeld (True Grit)
Jacki Weaver (Animal Kingdom)

Score: 3/5 (predicted Kunis and Manville instead of Steinfeld and Weaver). The Academy decided to commit category fraud and place Steinfeld here, though I don't really mind. Now she can easily win this category on Oscar night (though I personally prefer either Adams to Leo). Glad to see Weaver among the nominees.

PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE

Christian Bale (The Fighter)
John Hawkes (Winter's Bone)
Jeremy Renner (The Town)
Mark Ruffalo (The Kids are All Right)
Geoffrey Rush (The King's Speech)

Score: 4/5 (predicted Garfield instead of Hawkes). The Academy seems to really dig Winter's Bone. I was hoping to see Garfield here, but Hawkes's performance IS deserving of notice so no complaints about that not-quite-surprising nom (given the SAG nod earlier).

Original Screenplay

Mike Leigh (Another Year)
Eric Johnson, Scott Silver, Paul Tamasy (The Fighter)
Christopher Nolan (Inception)
Lisa Chodolenko, Stuart Blumberg (The Kids are All Right)
David Seidler (The King's Speech)

Score: 4/5 (predicted Black Swan instead of Another Year). Leigh fans can rejoice; his film wasn't entirely overlooked. But its nom came at the expense of Black Swan.

Adapted Screenplay

Danny Boyle, Simon Beaufoy (127 Hours)
Aaron Sorkin (The Social Network)
Michael Arndt (Toy Story 3)
Joel Coen, Ethan Coen (True Grit)
Debra Granik, Anne Rosellini (Winter's Bone)

Score: 5/5.

Best Animated Feature Film

Dean DeBlois, Chris Sanders (How to Train Your Dragon)
Sylvain Chomet (The Illusionist)
Lee Unkrich (Toy Story 3)

Score: 2/3 (predicted Tangled instead of The Illusionist). Interesting, that Tangled wasn't able to get a spot in this category.

Best Documentary Feature

Exit Through the Gift Shop
Gasland
Inside Job
Restrepo
Waste Land

Score: 4/5 (predicted Waiting for Superman instead of Waste Land). That snub for Waiting for Superman was quite the shocker, considering how much it's been buzzed.

Best Foreign Language Film

Outside the Law (Algeria)
Incendies (Canada)
In a Better World (Denmark)
Dogtooth (Greece)
Biutiful (Mexico)

Score: 4/5 (predicted South Africa instead of Algeria). I should have picked up on the buzz on Algeria's entry, but the South African film seemed a much surer bet.

Achievement in Art Direction

Alice in Wonderland
Harry Potter and the Deathly Hallows: Part I
Inception
The King's Speech
True Grit

Score: 4/5 (predicted Black Swan instead of Alice in Wonderland). Should have known they'd go for the wacky Alice world. Black Swan was probably too simple and contemporary for the voters.

Achievement in Cinematography

Matthew Libatique (Black Swan)
Wally Pfister (Inception)
Danny Cohen (The King's Speech)
Jeff Cronenweth (The Social Network)
Roger Deakins (True Grit)

Score: 4/5 (predicted Harry Potter and the Deathly Hallows: Part I instead of The Social Network).

Achievement in Costume Design

Colleen Atwood (Alice in Wonderland)
Antonella Cannarozzi (I Am Love)
Jenny Beavan (The King's Speech)
Sandy Powell (The Tempest)
Mary Zophres (True Grit)

Score: 4/5 (predicted Black Swan instead of I Am Love).

Achievement in Film Editing

Andrew Weisblum (Black Swan)
Pamela Martin (The Fighter)
Tariq Anwar (The King's Speech)
Jon Harris (127 Hours)
Kirk Baxter, Angus Wall (The Social Network)

Score: 3/5 (predicted Inception and True Grit instead of The Fighter and 127 Hours).

Achievement in Makeup

Barney's Version
The Way Back
The Wolfman

Score: 1/3 (predicted Black Swan and The Tempest instead of Barney's Version and The Way Back). Always an unpredictable category where random films can pop up.

Achievement in Music (Original Score)

John Powell (How to Train Your Dragon)
Hans Zimmer (Inception)
Alexander Desplat (The King's Speech)
A.R. Rachman (127 Hours)
Trent Reznor, Atticus Ross (The Social Network)

Score: 4/5 (predicted TRON Legacy instead of How to Train Your Dragon). The nom for Daft Punk was wishful thinking, I know.

Achievement in Music (Original Song)

"If I Rise" (127 Hours)
"Coming Home" (Country Strong)
"I See the Light" (Tangled)
"We Belong Together" (Toy Story 3)

Score: 3/4 (predicted five, with "You Haven't Seen the Last of Me" and "Me and Tennessee" instead of "Coming Home"). Sorry, no Cher on Oscar night.

Achievement in Sound Editing

Inception
Toy Story 3
TRON Legacy
True Grit
Unstoppable

Score: 4/5 (predicted Iron Man 2 instead of Unstoppable). Should have known that a critically well-received actioner would get notice here. Should have spread the net wider. Though 4/5 is good for me in this category.

Achievement in Sound Mixing

Inception
The King's Speech
Salt
The Social Network
True Grit

Score: 3/5 (predicted Black Swan and TRON Legacy instead of The King's Speech and Salt). I don't think anyone expected that nom for Salt, but I should have seen the King's Speech nom coming.

Achievement in Visual Effects

Alice in Wonderland
Harry Potter and the Deathly Hallows: Part I
Hereafter
Inception
Iron Man 2

Score: 4/5 (predicted TRON Legacy instead of Hereafter). Sure, the young Jeff Bridges was kinda unnatural, but how can they not nominate TRON Legacy for every other nifty visual in that film? Injustice.

Short Film (Animated)

"Day & Night"
"The Gruffalo"
"Let's Pollute"
"The Lost Thing"
"Madagascar, a Journey Diary"

No predictions.

Short Film (Live Action)

"The Confession"
"The Crush"
"God of Love"
"Na Wewe"
"Wish 143"

No predictions.

Documentary (Short Subject)

"Killing in the Name"
"Poster Girl"
"Strangers No More"
"Sun Come Up"
"The Warriors of Qiugang"

No predictions.

Winners of the 68th Golden Globe Awards

Best Motion Picture - Drama
The Social Network

Best Motion Picture - Comedy or Musical
The Kids Are All Right

Best Director - Motion Picture
David Fincher, The Social Network

Best Performance by an Actor in a Motion Picture - Drama
Colin Firth, The King’s Speech

Best Performance by an Actress in a Motion Picture - Drama
Natalie Portman, Black Swan

Best Performance by an Actor in a Motion Picture - Comedy or Musical
Paul Giamatti, Barney’s Version

Best Performance by an Actress in a Motion Picture - Comedy or Musical
Annette Bening, The Kids Are All Right

Best Performance by an Actor in a Supporting Role in a Motion Picture
Christian Bale, The Fighter

Best Performance by an Actress in a Supporting Role in a Motion Picture
Melissa Leo, The Fighter

Best Screenplay - Motion Picture
Aaron Sorkin, The Social Network

Best Foreign Language Film
In a Better World

Best Animated Feature Film
Toy Story 3

Best Original Score - Motion Picture
Trent Reznor and Atticus Ross, The Social Network

Best Original Song - Motion Picture
“You Haven’t Seen the Last of Me” from Burlesque

Nominees for the 17th Screen Actors Guild Awards

Outstanding Performance by a Cast in a Motion Picture
Black Swan
The Fighter
The Kids Are All Right
The King’s Speech
The Social Network

Outstanding Performance by a Male Actor in a Leading Role
Jeff Bridges, True Grit
Robert Duvall, Get Low
Jesse Eisenberg, The Social Network
Colin Firth, The King’s Speech
James Franco, 127 Hours

Outstanding Performance by a Female Actor in a Leading Role
Annette Bening, The Kids Are All Right
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter’s Bone
Natalie Portman, Black Swan
Hilary Swank, Conviction

Outstanding Performance by a Male Actor in a Supporting Role
Christian Bale, The Fighter
John Hawkes, Winter’s Bone
Jeremy Renner, The Town
Mark Ruffalo, The Kids Are All Right
Geoffrey Rush, The King’s Speech

Outstanding Performance by a Female Actor in a Supporting Role
Amy Adams, The Fighter
Helena Bonham Carter, The King’s Speech
Mila Kunis, Black Swan
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit

Outstanding Performance by a Stunt Ensemble in a Motion Picture
Green Zone
Inception
Robin Hood

Nominees for the 68th Golden Globe Awards

Best Motion Picture - Drama
“Black Swan”
“The Fighter”
“Inception”
“The King’s Speech”
“The Social Network”

Best Motion Picture - Comedy or Musical
“Alice in Wonderland”
“Burlesque”
“The Kids Are All Right”
“Red”
“The Tourist”

Best Director - Motion Picture
Darren Aronofsky, “Black Swan”
David O. Russell, “The Fighter”
Christopher Nolan, “Inception”
Tom Hooper, “The King’s Speech”
David Fincher, “The Social Network”

Best Performance by an Actor in a Motion Picture - Drama
Jesse Eisenberg, “The Social Network”
Colin Firth, “The King’s Speech”
James Franco, “127 Hours”
Ryan Gosling, “Blue Valentine”
Mark Wahlberg, “The Fighter”

Best Performance by an Actress in a Motion Picture - Drama
Halle Berry, “Frankie and Alice”
Nicole Kidman, “Rabbit Hole”
Jennifer Lawrence, “Winter’s Bone”
Natalie Portman, “Black Swan”
Michelle Williams, “Blue Valentine”

Best Performance by an Actor in a Motion Picture - Comedy or Musical
Johnny Depp, “Alice in Wonderland”
Johnny Depp, “The Tourist”
Paul Giamatti, “Barney’s Version”
Jake Gyllenhaal, “Love and Other Drugs”
Kevin Spacey, “Casino Jack”

Best Performance by an Actress in a Motion Picture - Comedy or Musical
Annette Bening, “The Kids Are All Right”
Anne Hathaway, “Love and Other Drugs”
Angelina Jolie, “The Tourist”
Julianne Moore, “The Kids Are All Right”
Emma Stone, “Easy A”

Best Performance by an Actor in a Supporting Role in a Motion Picture
Christian Bale, “The Fighter”
Michael Douglas, “Wall Street: Money Never Sleeps”
Andrew Garfield, “The Social Network”
Jeremy Renner, “The Town”
Geoffrey Rush, “The King’s Speech”

Best Performance by an Actress in a Supporting Role in a Motion Picture
Amy Adams, “The Fighter”
Helena Bonham Carter, “The King’s Speech”
Mila Kunis, “Black Swan”
Melissa Leo, “The Fighter”
Jacki Weaver, “Animal Kingdom”

Best Screenplay - Motion Picture
Christopher Nolan, “Inception”
Lisa Cholodenko and Stuart Blumberg, “The Kids Are All Right”
David Seidler, “The King’s Speech”
Danny Boyle and Simon Beaufoy, “127 Hours”
Aaron Sorkin, “The Social Network”

Best Foreign Language Film
“Biutiful”
“The Concert”
“The Edge”
“I Am Love”
“In a Better World”

Best Animated Feature Film
“Despicable Me”
“How to Train Your Dragon”
“The Illusionist”
“Tangled”
“Toy Story 3”

Best Original Score - Motion Picture
Danny Elfman, “Alice in Wonderland”
Hans Zimmer, “Inception”
Alexandre Desplat, “The King’s Speech”
A.R. Rahman, “127 Hours”
Trent Reznor and Atticus Ross, “The Social Network”

Best Original Song - Motion Picture
“Bound to You” from “Burlesque”
“You Haven’t Seen the Last of Me” from “Burlesque”
“There’s a Place for Us” from “The Chronicles of Narnia: The Voyage of the Dawn Treader”
“Coming Home” from “Country Strong”
“I See the Light” from “Tangled”

15 Animated Features Eligible for Oscar

Beverly Hills, CA (November 15, 2010) – Fifteen features have been accepted for consideration in the Animated Feature Film category for the 83rd Academy Awards^®.

The 15 features are:

• “Alpha and Omega”
• “Cats & Dogs: The Revenge of Kitty Galore”
• “Despicable Me”
• “The Dreams of Jinsha”
• “How to Train Your Dragon”
• “Idiots and Angels”
• “The Illusionist”
• “Legend of the Guardians: The Owls of Ga’Hoole”
• “Megamind”
• “My Dog Tulip”
• “Shrek Forever After”
• “Summer Wars”
• “Tangled”
• “Tinker Bell and the Great Fairy Rescue”
• “Toy Story 3”

“The Dreams of Jinsha,” “The Illusionist,” “Summer Wars” and “Tangled” have not yet had their required Los Angeles qualifying run. Submitted features must fulfill the theatrical release requirements and meet the category’s other qualifying rules before they can advance in the voting process.

Under the rules for this category, in any year in which 8 to 15 animated features are released in Los Angeles County, a maximum of 3 motion pictures may be nominated. If 16 or more animated features are submitted and accepted in the category, a maximum of 5 motion pictures may be nominated.

Films submitted in the Animated Feature Film category also may qualify for Academy Awards in other categories, including Best Picture, provided they meet the requirements for those categories.

The 83rd Academy Awards nominations will be announced live on Tuesday, January 25, 2011, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2010 will be presented on Sunday, February 27, 2011, at the Kodak Theatre at Hollywood & Highland Center^®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.

from Oscars.org

Best Actress Oscar 2010: A Crowded Race

A good five or so months away from the 83rd Academy Awards, the season for prognostication is already in full swing, what with many of the year's touted "Oscar films" having come out in various film festivals. Foremost among these are the ones of Cannes, Venice, and Toronto. Films like The King's Speech, 127 Hours, Black Swan, and The Social Network have been seen and widely praised, making this year's Best Picture race potentially one of the most exciting in recent years (especially with holdovers Toy Story 3, Inception, and The Kids are All Right still strong and other prestige pics still unseen). But other than the films themselves, the actresses have also come in force. This could be the most crowded and unpredictably exciting Best Actress race in many years (the decision to move Robert Redford's The Conspirator to 2011 may have been a wise one; Robin Wright would have had a difficult time getting in despite the mostly strong reviews). Here are 12 women who seem to have the strongest chances for getting one of the five slots. In my opinion, ten of them (with asterisks) will ultimately battle it out at the end, and any of them could get in.

Annette Bening (The Kids Are All Right)*

Current buzz status: Definitely one of the front runners.

Pros: Loved by Oscar voters, though never enough for an actual win. She's way overdue. It's a great performance that many love.

Cons: Lead or supporting? Internal competition with Julianne Moore.


Anne Hathaway (Love and Other Drugs)*

Current buzz status: Perceived as one of the potential front runners...

Pros: ...given buzz on the performance, the role (she has an illness), and her reputation (we just know she'll be a regular nominee soon).

Cons: The film (romantic drama) isn't exactly Oscar material.


Sally Hawkins (Made in Dagenham)*

Current buzz status: Could easily sneak into the top five; her performance is getting a lot of notices.

Pros: The Academy owes her for that snub of a great performance in Happy-Go-Lucky. The film is well loved and she's playing a Norma Rae-ish character.

Cons: Maybe the Academy voters just don't get her. The film has to be big when released in the US.


Nicole Kidman (Rabbit Hole)*

Current buzz status: Early reviews have been glowing. They say it's a return to form for this former Oscar winner.

Pros: Haven't they snubbed her long enough? We all know she's a formidable actress. This is a prime role for drama (she loses a child).

Cons: Will this film even be released this year? No distributor yet. UPDATE: Lionsgate has picked it and will release it this year. The only con now is that the film is really dark and despairing.


Jennifer Lawrence (Winter's Bone)*

Current buzz status: One of the front runners until the recent slew of praised performances from more established stars in bigger films displaced her.

Pros: Sheer talent. She's amazing in the film. She may be the ingenue in the mix.

Cons: The film may be too small or too bleak for the voters and may easily get lost in the shuffle.


Lesley Manville (Another Year)*

Current buzz status: One of the front runners, as per many prognosticators' lists.

Pros: Also talent and buzz. Since critics and audiences first saw the film in Cannes, she's been wowing them and the buzz never really went away.

Cons: Too much competition, and she's virtually unknown. That works more for young actresses. If the film gets traction in the Best Picture race then she's likely in.


Julianne Moore (The Kids are All Right)*

Current buzz status: Not very much for this category.

Pros: That can easily change if she gets campaigned in this category and Bening goes to supporting. She has more screentime in the film and is just as good. She's also due at least another nom.

Cons: The category confusion and internal competition, just like Bening.


Carey Mulligan (Never Let Me Go)

Current buzz status: Just a bit; there's more buzz for her co-stars.

Pros: Across the board, the acting in the film has been praised. As has been the film itself.

Cons: Has Keira Knightley stolen the show? And Mulligan was just nominated last year. Too soon, maybe, much more so for a film that has a sci-fi bent.


Natalie Portman (Black Swan)*

Current buzz status: It's all hers right now. Fresh off Venice.

Pros: Superlatives in her honor. Challenging physical role for a well respected young actress.

Cons: The film is dark and not the Academy's typical Best Picture fare.


Hilary Swank (Conviction)*

Current buzz status: Building up, but she always had it from the start.

Pros: Two-time Oscar winner. The voters definitely love her, and this one's a plum role. She's getting great reviews for it so far. The film could be this year's The Blind Side. A third Bening-Swank showdown might prove too irresistible.

Cons: The film itself isn't being praised as much as it could be. Co-star Sam Worthington, a highly likely nominee in the Supporting Actor category, may hog the spotlight in the end.


Naomi Watts (Fair Game)

Current buzz status: Not so much.

Pros: It's a good role, and gritty enough to get a good number of votes.

Cons: The competition is just too intense. And hasn't Vera Farmiga played this role before (in Nothing But the Truth)?


Michelle Williams (Blue Valentine)*

Current buzz status: Slowly fading since the huge amount of praise in Sundance.

Pros: Williams is an excellent actress who has been building up cred with her fine performances in indie films. She was widely praised when critics and audiences first saw this film.

Cons: Where's the buzz now? The film may get lost in the onslaught of all these critically acclaimed prestige films.


A 13th possibility, based on current buzz, is Diane Lane for Secretariat. Further down are Gwyneth Paltrow for Country Strong, Keira Knightley for London Boulevard, Rachel McAdams for Morning Glory, and Kristen Stewart for Welcome to the Rileys.

The National Board of Review might go for both Bening and Moore. Critics groups will be split among Bening, Lawrence, Manville, maybe Kidman and Portman. Here's how I see the SAG going as of now:

Bening
Hathaway
Kidman
Portman
Swank

As for the Golden Globes:

Comedy/Musical
Bening
Hathaway
Hawkins (right category?)
Manville (ditto)
Moore
*If Moore or Bening goes supporting, maybe McAdams or Julia Roberts (Eat, Pray, Love)

Drama
Kidman
Lawrence
Portman
Swank
Williams
*Or maybe Stewart instead of Williams

My current predicted five for Oscar (likely to change a bit next month):

1. Bening
2. Portman
3. Hathaway
4. Lawrence
5. Swank