(Hurried) 2011 Oscar Predictions.

Best Picture - The Social Network
Best Director - David Fincher, The Social Network
Best Actor in a Leading Role - Colin Firth, The King's Speech
Best Actress in a Leading Role - Natalie Portman, Black Swan
Best Actor in a Supporting Role - Christian Bale, The Fighter
Best Actress in a Supporting Role - Melissa Leo, The Fighter
Best Original Screenplay - The King's Speech
Best Adapted Screenplay -  The Social Network
Best Animated Feature - Toy Story 3
Best Foreign Language Film - Incendies
Best Cinematography - True Grit
Best Film Editing - The Social Network
Best Art Direction - Alice in Wonderland
Best Costume Design - The King's Speech
Best Makeup - The Wolfman
Best Original Score - The Social Network
Best Original Song - "If I Rise", 127 Hours [ugh to both the last two]
Best Sound Mixing - Inception
Best Sound Editing - Toy Story 3
Best Visual Effects - Inception
Best Documentary Feature - Waste Land
Best Short, Documentary - Warriors of Qiugang
Best Short, Animated - Madagascar, A Journey Diary
Best Short, Live-Action - God of Love

I'm predicting with my heart rather than my brain here, but please please PLEASE can TSN win over King's Speech? Good lawd.

My 10 Favourite Films of 2010.

I can’t tell a lie, I wasn’t exactly blown away by the majority of 2010 releases. Much of this was my own fault/ I didn’t frequent my little arthouse digs quite as much last year, which explains the highly commercial nature of the majority of my top 10. 

Whilst there are usually two or three obscure little treats in my top list, due to the fact that I barely watched any indie films this year, the top 10 is the most blockbuster it’s been for a while. And what I did see, on the whole, I wasn’t impressed with. 

Should I have time I may do a least favourite 10, but until then, the goodies.

10. StreetDance 3D [full review here]

I have big, unapologetic love for my dance movies (Step Up 2 made the same position on my top list of 2008 two years ago). StreetDance 3D is very similar to the Step Up movies; it centres around dance and disaffected youth and looks at how dance gives them a raison d'etre, and like with the original Step Up with Channing Tatum, it fuses hip hop and street dancing with the more refined skills involved in ballet. 

As so much of the film revolves around the dancing spectacles, the acting, plot and dialogue aren’t the greatest, but they more than suffice, plus there’s the novelty of seeing Charlotte Rampling cast as a ballet teacher; even in autopilot, she’s nothing less than a queen. 

Set in inner-city London, the city is shot in a way that Woody Allen captured London in Match Point- practically on a pedestal, and the cameos from Britain’s Got Talent acts such as Diversity and Flawless, the acting debut from the wonderful cheeky chappy George Sampson, the trendy soundtrack and the modern day Romeo and Juliet parallel all somehow fit together slickly. 

So whilst it’s a simple enough film in terms of character and plot, the dancing is anything but, and StreetDance 3D is one of the few films wherein watching it in 3D genuinely does heighten the viewing pleasure. Definitely worth singing and dancing about.

Film review: FEAR IN THE NIGHT (Maxwell Shane, 1947)

Right now, the Film Noir Blog-a-thon is occuring, hosted by the very brilliant The Self-Styled Siren and Marilyn Ferdinand. The blogathon is occuring as part of a fundraiser to raise money for The Film Noir Foundation, a very worthy cause which helps to restore classic films. Click here to donate.

When looking for a film to review for the blogathon, I couldn't decide between reviewing or re-reviewing some of my all-time favourite noirs (Sunset Blvd., Mildred Pierce, Laura, Double Indemnity to name but a few), or to watch something new. In the end I opted for the latter -- because why not watch a new film in the hope of discovering a new gem? -- and I picked the somewhat obscure 1947 Maxwell Shane picture, Fear in the Night.

Vince Grayson (DeForest Kelley) dreams that he kills a man and when he wakes up he finds he has bruise marks around his neck from the guy trying to strangle him in self-defence. Seriously spooked out, he tries to hand himself into the police by telling his brother-in-law, Cliff, a cop, only to be told (quite fairly) that he cannot be arrested for a crime that he committed in his sleep, "you're dreaming. You've had those things before". 

BAFTA Predictions, 2011.

I'm excited for the BAFTAs tonight! Lovely costumes, loads of film banter and the majority of Hollywood showing up and looking fine, fresh fierce. What more could a movie buff and fangirl ask for? So, here are my predictions for who'll win what!

BEST PICTURE The King's Speech.
Alternative: The Social Network.

Personally I greatly prefer The Social Network to The King's Speech, but I'm not sure, I think the Britishness of the latter may sway it for BAFTA voters.
BEST DIRECTOR David Fincher.
Alternative: Christopher Nolan.

BAFTA don't tend to make a habit of giving both Best Film and Director to the same film (though they have done this quite a lot in recent years, Brokeback Mountain and Slumdog Millionaire bagging both, as did, weirdly, The Crap Locker), so I'm going for different predictions here. It wouldn't surprise me at all of Chris Nolan won Best Director this evening actually, BAFTA could give it to him as a "sorry you weren't nominated at the Oscars" thing.

BEST ACTOR Colin Firth - The King's Speech.
Alternative: Javier Bardem - Biutiful.

As if it's going to go to anyone other than Colin Firth! The biggest lock of the night, to be honest.

BEST ACTRESS Natalie Portman - Black Swan.
Alternative: Hailee Steinfeld - True Grit.

I think Natalie's got this one locked, although I would love, love love for Hailee to win it; she characterised what is and will be the fiercest young character to ever wear braids. Her character really did have true grit.
BEST SUPPORTING ACTOR Christian Bale - The Fighter.
Alternative: Geoffrey Rush - The King's Speech.

I would love for Andy Garfield to be walking up to the podium collecting this prize, but I highly doubt it. Oh, Andy. At least you win something. I know, it's cold comfort. :p Nonetheless, I can't begrudge Bale of his win. He is a terrific actor and was uncannily good in The Fighter. What is it with men with the surname Bale who were born in Wales? They're all exceedingly talented.
BEST SUPPORTING ACTRESS Lesley Manville - Another Year.
Alternative: Miranda Richardson - Made in Dagenham.

BEST ORIGINAL SCREENPLAY The King's Speech
Alternative: Inception

If Inception takes this, I will figuratively choke up a kidney from the lolage.

BEST ADAPTED SCREENPLAY The Social Network
Alternative: True Grit
BEST BRITISH MOVIE  Another Year
Alternative: 127 Hours

BEST FILM NOT IN THE ENGLISH LANGUAGE The Girl with the Dragon Tattoo
Alternative: The Secrets in their Eyes

CINEMATOGRAPHY Inception
Alternative: True Grit

COSTUME DESIGN Black Swan
Alternative: Alice in Wonderland

SOUND Inception

Alternative: True Grit

EDITING Inception

Alternative: The Social Network

It'll make me chuckle if Inception actually does win this, as I found the film tediously boring, and surely a sign of good editing is that the film doesn't feel overlong? Anyway.

FILM MUSIC Inception

Alternative: 127 Hours (oh good god I hope not)

So all in all, I don't hope for much. I'd much rather The Social Network or True Grit won Best Film over Inception and The King's Speech, and I would lovelovelove for Hailee Steinfeld to win Best Actress. Or anyone other than Natalie Portman, to be quite honest. And Inception to not get anything important. I would like BAFTA to pleasantly surprise me by giving How to Train Your Dragon a Music Win and Toy Story III a screenplay win, but, I doubt it!

04. LES QUATRE CENT COUPES (François Truffaut, 1959)

lol, yeah, I really need to train with this countdown of my top 100. My last review for #5 was almost seven months ago. Blimey. So here we are! Number 4.

12-year-old Antoine Doinel just can’t seem to get it right. At home, his mother and father neglect him. At school, all he ever seems to does is get himself into trouble (the French translation of faire les quatre cent coups means to raise hell), and he’s happiest when he’s bunking school, just roaming the streets. 

He’s not a bad egg by any means, just one who seems to be the unfortunate one who gets caught doing something even though everyone else is (case in point—his classmates pass around a picture of a nude lady, but when the teacher walks in it is he holding it). 

My Jogging Playlist.

One of my 2011 New Year’s Resolutions was to lose weight by eating less and exercising more. Whilst the former has fallen flat on its face, I have at least sort of stuck to the latter, in that I go jogging on a every-other-daily basis. Obviously, doing any kind of strenuous activity is just not in my disposition, and I find I need some good jogging music to get me motivated. Thus, verily I present you, my jogging playlist.



01. Mombasa – Hans Zimmer
02. Eye of the Tiger – Survivor
03. Time to Pretend - MGMT
04. Something kinda Ooh - Girls Aloud
05. American Gangster – Jay-Z
06. Lose Yourself - Eminem
07. Ooh La La - Goldfrapp
08. Empire – Kasabian
09. What You Waiting For – Gwen Stefani
10. The Battle - Hans Zimmer & Lisa Gerrard
11. All I Want is You - Barry Louis Polisar

All t'riffic songs to run to, but especially Mombasa, which is single-handedly to thank for keeping me from veering into the 10 stone mark.

A Look Ahead to Best Original Score, 2010.

The nominees: 

• 127 Hours: A.R. Rahman
• How to Train Your Dragon: John Powell
• Inception: Hans Zimmer
• The King's Speech: Alexandre Desplat
• The Social Network: Trent Reznor, Atticus Ross

My rankings and grades:

01. How to Train Your Dragon (John Powell)

Dreamworks’ How to Train Your Dragon is a fresh, cute film about a lad and his dragon. From the very first couple of notes of the score (which begin as the film does), I thought “oh here we go ago, another standard boring Disneyesque film”, with an unequally uninspired score to match. But I was wrong, for, as soon as the narrator subverted my thoughts in his narration, the score also did, and went from cheesy to cheeky. 

There’s barely a scene in How to Train Your Dragon where music isn’t employed, but it never feels intrusive and its playfulness is an absolutely joy; listen to how the music modulates into schmaltz pastiche when the protagonist’s crush walks onto the screen. 

Exuberant, lively, and adventurous, John Powell has sculpted a score which embodies the film perfectly, and, in honestly, is a huge factor for why I enjoyed it so. He clearly had a huge amount of fun writing the score, and we as the audience share the enjoyment in listening to it. 

A

(but don’t just take my word for it, check out the amaze tracks yourself! The Drowned Dragon / See You Tomorrow / The Vikings Have Their Tea)

02. Inception (Hans Zimmer)

Hmm, Inception. It’s very difficult for me to be even in the same room as this film without wanting to throw something at it. But, credit where credit is due, Hans Zimmer knows how to – and clearly enjoys – penning the scores to action/adventure/thriller films. And often, as with Inception and The Da Vinci Code, his music proves to be the best thing about the lame excuse for a film. 

The track Mombasa, played when the action for the film was just kicking in, is terrifically fresh and frenetic, and at that point still gave me enough false hope to believe the film might be worth bothering with; the fusion of hyper-drumming and electro-rock give the film a huge sense of urgency and excitement. 

The finale track Time is full of hope, sadness and despair in its elegiac string chords and powerful surges of crescendo as well as the blend of semiquavers and minims played in the beautiful 528491, a track which I will forever now associate with Pete Postlethwaite. 

Unlike Christopher Nolan with the plot, Hans Zimmer keeps the musical ingredients relatively simple for Inception. And, by doing so, he shows that less is more. Take note next time you try to write/direct something about dreams ever again please, Chris Nolan. A-

03. The King’s Speech (Alexandre Desplat)

Alexandre Desplat, who also scored 2010’s Ghost Writer and Harry Potter and the Deathly Hallows: Part I, finds himself getting his fourth nomination in five years for his score to what is now, after recent DGA and SAG ensemble wins, the front-runner for Best Film come February 27th. His other three nominations have come for his music to films about a wily fox, a man who ages backwards, and, curiously enough, the Queen of England. But Desplat avoids doing what many composers must be tempted to do; go through their rolodex of old musical notes used for The Queen and bung it in to The King’s Speech, justifying that, they are, after all, “both about monarchy in England.” No, Mr Desplat is nothing if not original, and the music to The King’s Speech dances with wit and whimsy. On personal listening, the tinkling piano, the sparse use of woodwork and the orchestral melodies don’t delight quite as much as they do with the pictures, and it far from sits in my personal top 5 Desplat scores (that, for your information, would be Birth, Girl with a Pearl Earring, Syriana, Lust, Caution and The Upside of Anger) but in fitting in with telling of King George’s journey from zero to hero, they certainly fit the bill. B+.

04. The Social Network (Trent Reznor, Atticus Ross)

Whenever I try to remember the score to The Social Network, literally all I can ever remember is just a bunch of piano chords at all the most dramatic moments. Literally. Seriously, the score was a total non-entity and it absolutely confounds me how two people were required (one of which, Mr Reznor, is actually Nine Inch Nails' frontman), to put together such a musicalling mediocrity. I have no beef with the film whatsoever, in fact, I’d quite like it to win Best Film ahead of The King’s Speech, which left me somewhat cold, but please, not the score. That was crap, and the academy should definitely have deprived The Social Network of a nomination in this category and given it to the film where it deserved it - Best Supporting Actor. Oh yes, I'm still stanning Andrew Garfield. E.

05. 127 Hours (A.R. Rahman)

Speaking of crap, Jesus. I don’t get any joy out of ragging on A.R. Rahman, he did, after all, produce what I consider to be one of the most ingenious scores of recent years in Slumdog Millionaire’s terrific soundtrack. But if The Social Network was just a mishmash of sad-sounding piano chords, 127 Hours was just a mish-mash of weird sounds, with a bit of acoustic guitar thrown in to try and evoke the eerie, ethereal effect. I was not won over; the music left me feeling as viscerally sick as much as the arm amputating. F.

Who will win: The Social Network (urgh)
Who deserves to win: John Powell for How to Train Your Dragon
Who deserved to be nominated: Alexandre Desplat for Harry Potter and the Deathly Hallows?? idk. On the whole, it wasn't the most memorable year for film scores. Pity. But John Powell's score to How to Train Your Dragon is absolutely adorable, and I'm actually quite pleased I forsaw this one getting nominated.

A Look Ahead to Best Original Song, 2010.

Hiya, I thought it’s high time I got my finger out and actually did some proper film blogging, haha. And what better way than to analyse each of the Oscar nominated categories? So, whilst I brush up on watching the remaining 2010 Oscar nominated movies that I need to watch, I thought I’d analyse the one category wherein I don’t need to watch the movies to analyse the category: best song. Of course, the whole aim of a song is that it’s supposed to epitomize the film, and in that case, having seen the film might improve my appreciation of the song, so in that case, 127 Hours and Toy Story 3 might be at a (dis)advantage. But I’mma try to analyse these songs from a purely aural point of view, ignoring context.

Oh yeah, and if you're wondering what the frick this is, it's basically me pretentiously rambling on about the things I love, the things I hate and everything in between in all the Oscar nominated categories (or just the ones I can be arsed with). Past examples: costume 2007 / score 2006 / supporting actress 2007 etc etc

The nominees are:
127 Hours: A.R. Rahman, Rollo Armstrong, Dido- "If I Rise"
Country Strong: Tom Douglas, Hillary Lindsey, Troy Verges - "Coming Home"
Tangled: Alan Menken, Glenn Slater- "I See the Light"
Toy Story 3: Randy Newman - "We Belong Together"

My rankings and grades:
01. Coming Home/Country Strong

A country music ballad as good as they used to make ‘em, Gwyneth Paltrow’s surprisingly mellifluous voice (check her out in her performance in Glee, covering “Forget You”, he sass and swagger gave me a newfound appreciation of the song and cemented its place as my favourite song of 2010) sings about finding love and one’s place in the world. Standard topics, then, but her belting out “H-oooome” in the chorus is so powerful that it almost evokes the nostalgia-type emotions that I get in listening to my personal favourite song about homecomings, Kanye West’s Homecoming. A.

02. We Belong Together / Toy Story 3
“When we're together/Gray skies are clearer./And I'll share them, till where I'm less depressed./And it's sincerely, from the bottom of my heart/I just can't take it when we're apart” go the sweet but very Disneyfied lyrics of Randy Newman’s Oscar nominated Toy Story 3 entry. Whilst not quite touching the heart quite as much as “You’ve Got a Friend in Me” did, it’s still an adorable song which can bung a smile or two on my face with its unapologetically uplifting lyrics. B+

03. I See the Light/Tangled

A very pretty song, but emotionally, it doesn’t really do anything for me. It starts with the female lead singing a verse, then the male lead singing a verse, then, surprise surprise, the two of them fusing into a harmony. Musically, it’s hardly revolutionary, and, as with Randy Newman’s Toy Story 3 song, the lyrics are so massively Disney that it borders on tedious. The guitars, strings and piano chords are all very nice though. C.

04. If I Rise/127 Hours
Urgh. I’ll be analyzing Best Original Score tomorrow, wherein I’m not gonna bother hiding my disdain for 127 Hours bagging a nomination for its joke of a score. But yet another travesty is that it stained the Best Song category, when there really were many other more deserving songs that should have been nominated. Dido, on seeing how successful M.I.A. got with her super-swaggerous “O Saya” in Slumdog Millionaire, teams up with A.R. Rahman to wail away on this crappy song. I quite like Rollo’s vocals in the chorus, but Dido’s caterwauling and the bland lyrics are just disgraceful. E.

Who should win: Coming Home
Who will win: I legit have no idea! Um, If I Rise from 127 Hours?

Who should have been nominated: “Sticks and Stones” from How to Train Your Dragon, and that ain’t even a fucking question!!!!! Such a good song that it’s already been employed in a bunch of “2010: a retrospect” type montages, it sums up the film perfectly; highs, lows, and loving life. Terrifically fast-paced and with more life than an energiser bunny, this really is an adorably sweet song. I was also a fan of “Never Say Never” from The Karate Kid, though that is hugely due to Jaden Smith’s “no pun intended, raised by the power of Will” line. Lawlzswagger.

But yeah, “Sticks and Stones” from How to Train your Dragon is literally sublime. And that's an Emmabung kind of literally, not a Redknapp kind of literally. ;) Me and my bro spent all Christmas dancing around our house to it like the nerds we are. You’ll hear it on lots more awards shows and montages, mark my words, so you best download it here now so when your mates say “I wonder what song that is, it’s nice”, you can wow them with your trivia. ;)