BAFTA predictions, 2019.

Last year’s BAFTA results were ridiculously disappointing, with them mirroring the Oscars for all four acting categories. This year, I actually feel like they’re going to exercise more independent thought, so, here we go!

Best film: Roma

It’s difficult to call this category this year, as there isn’t an obvious frontrunner. When that’s the case, it’s tempting to apply the ‘predict the most British film’ rule, in which case, I ought to be predicting The Favourite. And indeed, in years where the Best Film race has been a tightly-judged affair, BAFTA have tended to go with the British option (they gave Best Film to Atonement when No Country for Old Men won the Oscar).

Golden Globe 2019 Predictions

Best Motion Picture, Drama: A Star Is Born
The fact that A Star is Born and Bohemian Rhapsody requested that they compete in the more competitive category (Drama has historically been harder to win than Musical or Comedy) shows the scope of their ambition. 

In the pantheon of category fraud, it’s usually been the other way round, for example last year, Get Out’s producers fraudulently campaigned for it as a ‘Comedy’ because they thought it would maximise their chances of a prize.

So the fact that ASIB and BR volunteered for the harder category demonstrates the belief the producers of the films have in their end products. In A Star is Born’s case, I reckon it will pay off.

Potential spoiler: BlacKkKlansman, very much a film for the moment.

Dishiest chaps in a 2012 film.

Happy Valentines Day readers! What better way to celebrate than with ten dishy dudes! For the 10 most alluring ladies of 2012, click here!

10. Chace Crawford, What to Expect When You're Expecting

Film review: THE BIG SHORT (Adam McKay, 2015)

The financial crisis of 2007-2008 was quite the talking point. People became bankrupt; many lost their jobs and their homes. The haphazard behaviour of bankers cost many people’s livelihoods and the developed world has never fully recovered. Adam McKay, famed for directing entertaining comedies such as Anchorman and The Other Guys, steps into the realms of the big boys with the multi Oscar-nominated The Big Short, an adaptation of The Big Short: Inside the Doomsday Machine by financial journalist Michael Lewis.

My favourite film critic Mark Kermode has a trope he often enlists in film reviews, known as ‘Meg Ryan as an airplane pilot’ (an allusion to Courage Under Fire), whenever he comes across a piece of casting in a film that nobody would buy in real life because the actor is too glamorous or mis-suited to the role. Well, going by that benchmark, there are three Meg Ryan as airplane pilots in The Big Short, with mis-casting so shockingly woeful, these proverbial helicopters would easily crash into each other.

Firstly, Ryan Gosling as a smarmy banker, complete with brunette hair-dye and poor treatment of his Yes-man of an assistant, does not ring true in the least. In films such as Crazy, Stupid, Love and The Notebook, dishy Gosling was in his element playing the dreamy heart-throb. Even in grittier, violent movies such as Drive or Only God Forgives, Gosling is able to transcend his good looks and lends credibility to the role of guys who will travel through the road to hell, laced with good intentions, trying to do what they believe is right. But in The Big Short, as the know-it-all smug Deutsche Bank employee Jared Vennett who spots a loophole in the fragile housing market that he can capitalise on to his gains, he does not convince, and no amount of dark hair or sharp suits will make him a credible banker.

Then we’ve got Christian Bale. Somehow, miraculously recipient of an Academy Award nomination for his portrayal of Michael Burry (although Jennifer Lawrence is on four Oscar nominations now, so, there’s no accounting for taste), a former doctor-come-number cruncher who runs his own asset management company, Bale reaches his intense peaks of American Psycho and The Fighter, but nowhere near the same level of credibility. As his eyes dart around at you (one of his eyes is a glass eye, although I never worked out which) in an attempt to convey Burry’s inability to relate to other people, I couldn’t help but feel faintly embarrassed. The heavy metal music and frenetic drumming that his character has a penchant for are all components in the novel, but by retaining them all in The Big Short for Bale, they do nothing other than illustrate how mis-suited he is to the role. As he is photographed lying on the ground, notes strewn across the floor, I never buy the frame as anything other than an over-cherographed scene of MOVIE STAR Christian Bale, surrounded by some finance notes.

Brad Pitt completes the Holy Trinity of awkward casing. He, like Gosling, has to overcome the hurdle of having to transcend his good looks, and his role in The Big Short is as misanthropic eco-aware Ben Rickett, who, having worked there previously, despises everything Wall Street stands for, but begrudgingly uses his reputation to get a seat at the table for The Brownfield Trust, a small investment firm run by yuppies played by Finn Wittrock and John Magaro. These two lads who a

re not particularly likeable in their roles but at least one of the film’s few believable elements, in their earnest, callow enthusiasm, and their interactions with each other as they stumble upon the mess of sub-prime lending are some of the slightly more nuanced elements of The Big Short's shambles of a screenplay. In one scene, Pitt's character lectures Wittrock and Magaro for being excited that their bets against the housing market are coming in, because whilst it's good news for them, it's awful news for many others. This is certainly true, but having handsome Brad Pitt playing morose with nothing but an unconvincing wig deliver it definitely dampens the strength of the message significantly.

Of the A-list poster-billed cast, only Steve Carell escapes with any pride in tact. His character is angry and has a very personal score to settle with the finance world, having a brother who worked there who suicided years previously. Carrell balances the pathos that this loss causes his character, along with amusing comedy of his raging tirades and general poor social etiquette, so that when his character is disgusted by the amoral people in finance and the little caution they throw to the wind when dealing with other people’s lives, we, too, share his disgust. The crew who work for him, which includes Rafe Spall, are also a semi-honourable bunch, amidst all the other wankers, and the camaraderie and fraternity between them, and the way they look out for Carell’s character, was one of the few elements of The Big Short I enjoyed.

Many critics have commended The Big Short’s irreverent take on the subject and off-the-wall execution. Admittedly, there are some effective scenes; the use of Gorillaz’s Feel Good Inc was nostalgic heaven, and the use of pop culture references to depict the passing of time certainly sits quite well. But mostly, the machine-gun, rat-tat-tat, not staying with any scene for too long, breaking the fourth wall and making Family Guy-style cutaways film ultimately gave me a headache.

I love Margot Robbie and Selena Gomez as much as the next person. But to enlist them to dumb down the subprime mortgage crisis to me, when I hold an Economics degree from the University of Bath, was the wrong side of off-kilter, and downright patronising. Margot Robbie, covered in bubbles, tells us that whenever we hear the word ‘sub-prime loan’, we should think ‘shit’. Well, in that vein, whenever someone mentions The Big Short, you should think, The Big Sh…

5/10

Golden Globe Predictions, 2014.

I'm tentatively announcing my re-entry on the Oscar buzz scene! For the past few years, I was doing my undergrad, where we had January exams, and I simply didn't have the time or emotional energy to get all invested in who was winning what. However, I'm now doing a part-time Masters whilst working, and don't have exams until next Summer, so I can dedicate some time to studying movie awards with as much gusto as I did before Uni! Whoop!

So, what better way to start than by predicting the Golden Globes, which occur tomorrow!

Best actress, comedy or musical
Predicted winner: Amy Adams, American Hustle
Alternate: Meryl Streep, Orange, Osage County

Best supporting actor
Predicted winner: Jared Leto, Dallas Buyers Club
Alternate: Bradley Cooper, American Hustle

Best Score
Predicted winner: 12 Years a Slave
Alternate: Gravity

Best Song
Predicted winner: Let it Go, Frozen
Alternate: Ordinary Love, Mandela: Long Walk to Freedom

Best Director
Predicted winner: Alfonso Cuaron, Gravity
Alternate: Steve McQueen, 12 Years a Slave

Best Actor
Predicted winner: Chiwetel Ejiofor, 12 Years a Slave
Alternate: Tom Hanks, Captain Phillips

Best supporting actress
Predicted winner: Jennifer Lawrence, American Hustle
Alternate: Lupita Nyong'o, 12 Years a Slave

Best actress, drama
Predicted winner: Cate Blanchett, Blue Jasmine
Alternate: Judi Dench, Philomena

Best comedy or musical
Predicted winner: American Hustle
Alternate: Nebraska

Best drama
Predicted winner: 12 Years a Slave
Alternate: Gravity

Best actor, comedy or musical
Predicted winner: Leonardo DiCaprio, The Wolf of Wall Street
Alternate: Christian Bale, American Hustle

Best animation
Predicted winner: Frozen
Alternate: Despicable Me 2

Best screenplay
Predicted winner: 12 Years a Slave
Alternate: American Hustle

Best foreign language film
Predicted winner: Blue is the Warmest Colour
Alternate: The Hunt

I can't be bothered to predict the television categories, but I predict Breaking Bad and Behind the Candlebra to sweep the board, as well as Lena Dunham to continue being recognised for her awful Girls (blah).

Film review: THE DARK KNIGHT RISES (Christopher Nolan, 2012)

After eight years of relative inactivity in the streets of Gotham, mainly thanks to a Harvey Dent act – constructed in false honour of Harvey Two-face from The Dark Knight, Bruce Wayne is a recluse in his manor, hobbling around with a walking stick and never showing his face. However, he’s kicked back into life – quite literally – by Selina Kyle, a swish, sassy cat burglar who’s also not bad to look at. 

It soon transpires she’s working for a greater evil, Bane, a hulking badass who was born in a prison known as “hell on earth”. Walking around with a hugely creepy gas mask in front of his face and casually disposing of anyone who gets into his way, Bane christens himself “Gotham’s reckoning.” But Bruce Wayne, never one to take attack to his beloved city lying down, fancies letting Batman reckon with him.

Nolan’s final instalment of his epic Batman trilogy is the most ambitious of the three, and no shortage of love nor money has gone into creating it. Action sequences which would be hard to direct at the best of times are made ten times more so with the almost unmanageable size of the quantity of extras employed – the American football game stands out in particular here. 

There are one-on-one fight scenes, as well as thousands-on-thousands, and some of the martial arts sequences (particularly involving Selina Kyle aka Catwoman) are thrillingly choreographed. But the real challenge didn’t lie in any part of the action, but bringing the trilogy to a close in both an emotionally satisfying way, and one that did justice to the massive Batman franchise. Other critics have been left wanting by the ending, the direction of the film (at 164 minutes, it will test your bladder), as well as the sprawling nature of the screenplay.

Indeed, Nolan co-write this film with his brother Jonathan, and at times, the dialogue (between Batman and Bane in particular) feels twice as portentous as that of Inception, and, considering I sure-as-hell was no fan of Inception, that’s certainly saying something. Another aspect of the film that has bugged some people is that the majority of time, it was difficult to decipher what Bane was actually saying due to the mask in front of his face. 

This was infuriating and confusing, definitely, but overall, I was quite impressed with how it contributed to the eerie, ominous sense of the film. Then there are the plot holes. Usually when I watch a film, I choose to suspend belief and just go with it, but there were a few subtle things that even I couldn’t ignore – for example – how policemen who had been trapped under rubble for months were suddenly as sprightly and energetic as ever. I won’t reveal any others at the risk of spoiling the plot, but plot holes are so rife in the film that some wags have taken to giving TDKR the moniker “The Plot Holes Rises.”

But all this pales in comparison in the grand scheme of things, when the end product is so epic. Chris Nolan recruited the majority of the cast of Inception for The Dark Knight Rises, so he must really enjoy working with them. 

Of the Inception crew, Marion Cotillard impressed me the least here. There were times when her facial expressions were borderline Drama GCSE, and considering the amazingly accurate depiction of Edith Piaf she has given before, we all know she can do a lot better. 

Michael Caine was very good, as he has been throughout the trilogy, and he has a few heart-rending scenes in which he tells Bruce how much he means to him. But my favourite performance of the Inception bunch is Joseph Gordon-Levitt, who plays a John Blake, cop, who, like Wayne, is an orphan, and thus sees him as a kindred spirit. Blake is very resourceful and comes to Batman’s aid at various points throughout the film and makes for a commendable supporting hero. And as the baddy, Tom Hardy is absolutely terrifying. He had a thankless task, having to follow-up Heath Ledger's terrifying Joker as the Batman villain, but he gives Bane genuine malice when the character could have easily become a hilarious caricature and for that, Laurels should be given to Hardy (boom boom :p).

Christian Bale, surely one of the most versatile actors in Hollywood, takes the lead role again wonderfully. It doesn’t quite match up to his work in The Fighter, The Machinist or my personal favourite, All the Little Animals (remember that film? lol), but in a role that is so easy to get wrong, he gets pretty much everything right. 

However, every scene he shared with Anne Hathaway’s Catwoman was stolen from her, for she was sensational. I had my qualms about seeing wholesome Princess Mia from The Princess Diaries playing such a sexy, amoral role, but Hathaway nails it. Her fight scenes are electrifying, and she deserves further plaudits when you consider she’s doing them in six-inch stiletto heels. Like a real cat, Hathaway slinks about the film like she owns it, and as a result, it really feels like she does. There’s also an engaging turn from English Rose Juno Temple as Catwoman’s friend and possible lover. Temple doesn’t do much, but it’s a proud moment to see her in such a huge blockbuster.

So engrossing that I did not check my phone once throughout the viewing of The Dark Knight Rises, I honestly couldn’t recommend it enough. It definitely has flaws, and several blog entries could be dedicated to the inconsistencies alone. But the overall good in the film – and boy, there is a lot of it – more than counterbalances it. 

Christopher Nolan has really done himself proud here, and for this alone, I am willing to forgive him for Inception (incidentally, Hans Zimmer’s score at points really do sound Inceptionish throughout the film (528491 from Inception sounds like it was played in every scene in TDKR), but we’ll allow). His brooding direction has given Batman what was seriously lacking in the previous cringeworthy George Clooney-starring Batman Forever films – soul. 

Much like Bruce Wayne, I haven’t been fulfilling my film critic duties much this year. But The Dark Knight Rises is my very own Bane, in that sense. The passion for cinema is back, all thanks to this film. 

And at the end of the day, there is no bigger compliment I can pay a film than that.

8/10

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 (hence the highly commercial nature of the majority of my top 10) and whilst there are usually two or three obscure little treats in my top list, due to the fact that I barely watched any art 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.

09. Somewhere [full review here]

As I may ram down the readers’ of this blog’s throats (yep, all three of you), I was not a fan of Lost in Translation. Quite why I hate it so much is a topic for another day, but, the point is, on viewing the trailer of Sofia Coppola’s film about boredom, isolation and family, I got a distinctly Lost in Translation vibe from it and expected to dislike it as well. 

Which just goes to show that you shouldn’t judge a film by its trailer, because, whilst there were still discernible echoes of Lost in Translation in Somewhere, Somewhere washed with me a lot better. 

There’s a very likeable sort of gentle chemistry between on-screen father daughter pairing Stephen Dorff and Elle Fanning and various scenes which Coppola may have put in out of pure indulgence (such as the ice-skating sequence) actually add to its charm, and Coppola’s credentials as a music video director work to her advantage here, especially in the memorable and beautiful scene where Dorff and Fanning sunbathe to the pool to the melancholy lyrics of “I’ll try anything once.” 

Paint-by-numbers Coppola filmmaking, perhaps, but as a study of the things in life that matter, I connected with it, and it also serves as a delightful modern-day counterpart to Paper Moon, one of my favourite films.

08. Date Night

Scoff all you like, but I thought this film was bloody genius. 

At the centre you have a comedy King and Queen, Steve Carrell and Tina Fey, as a suburban husband-wife combo who get through life perfectly fine, albeit noticing that their marriage is slipping up on what Thierry Henry would dub the “va-va-voom.” 

On one of their date nights, they decide to venture into New York City, and in order to get seats at a pretentious restaurant, take on the identities of “the Tripplehorns”, which sets off a hilarious comedy of errors. 

With cameos from Leighton Meester, Mila Kunis, Mark Walhberg, Taraji P. Henson, Ray Liotta as well as two of this year’s Oscar nominees (for other films, obviously) Mark Ruffalo and James Franco, this is very much a Hollywood star back-pat sesh, but the smugness isn’t totally smeared in our faces as much as other films, such as Ocean’s 11.

Steve Carrell gets to use his comic timing to perfection (“he turned the gun sideways!” had me chuckling loudly) and Tina Fey delivers more of the deadpan, observation-comedy, but together, they make a wonderful comedy duo, and Date Night a very enjoyable film.

07. Made in Dagenham [drunken review here]

A delightfully charming true-life tale of how a group of women in the Ford plant in Dagenham campaigned for pay equality for women, Sally Hawkins steals the show and it’s a disgrace that such a sweet film was completely forgotten about come awards season. 

Like Starter for 10, Made in Dagenham is probably more likely to be fully appreciated by Brits, but there’s definitely a universal appeal in the theme of not giving up against the odds, even when practically everyone is telling you to sit down and shut up. 

Rosamund Pike gets to subvert her ditzy image and play against type as a stay-at-home mother who’s actually a lot smarter than her husband but has to pretend she isn’t, Jamie Winstone is the epitome of Essex in her brash bolshiness and up-and-comer Andrea Riseborough provides merriment too. 

Forget The King’s Speech, this was by far my favourite British film about overcoming adversity of the year.

06. Easy A

When we look back at the somewhat blah cinematic year that was 2010, one thing that I will definitely remember about it is it being the year that Emma Stone truly established herself on the scene. 

She’s always been nothing short of delightful in the past, even in truly dire films such as The House Bunny, but getting a film to herself and being expected to carry it is a big ask, yet Emma fulfils her job – and then some. As Olive Predergast, the maligned protagonist of the film who is wrongly dubbed a whore, slut and floozy by all of her fellow schoolmates, Emma Stone keeps the tale always on the right side of jovial, even when events take a turn for the problematic.

She’s obviously helped by some terrific zingers and one-liners, as well as a supporting cast that features Amanda Bynes hamming it up as a Christian Bible-basher, Thomas Haden Church as the chilled English teacher, Lisa Kudrow as the school councillor (and his wife) who cheats on him and gossip girl’s Penn Badgley as the love interest, but the fact of the matter is that there are just too few actresses in Hollywood that are as naturally likeable as Emma Stone, and her sexy, swaggerous red-hair, basque and Ray-ban combination will long be copied, never bettered. 

It doesn’t need to be said but I’ll say it; that girl will go far.

05. The Fighter

The Fighter opens to the tune of The Heavy’s “How do You Like Me Now” as Mark Wahlberg and Christian Bale, cast half-brothers from the same mother Micky Ward and Dicky Eklund, strut down their neighbourhood, mini-heroes for their status as boxers (Eklund had a good run before he descended into crack addiction, and Micky has a few fights lined up). 

Coming from a family with seven sisters ruled under the iron fist of their loving but sometimes ill-advised materfamilia Alice Ward (Melissa Leo), Micky has always taken the advice of his family members, even when it’s ended up backfiring. When he starts dating local barmaid Charlene (Amy Adams), however, she opens his eyes to the fact that he needs to train to start sticking up for himself and his own best interests. Micky wants to win fights but he also wants to appease his family, thus the key premise of The Fighter. 

The acting is uniformly excellent but Christian Bale really stands out in his twitchy performance as the drug-addict who still rides on his former glory, oblivious (or simply refusing to accept) that he’s become a joke; the scene in jail wherein he watches the documentary about himself is heartbreaking. Despite the fairly grim plot-line, the film still managed to be funny and lively throughout; I in particularly enjoyed the shy sweetness of Micky and Charlene's tentative romance. 

There’s something about the whole against all odds type film that just appeals to me massively, and the flawed characters and themes such as loyalty and fraternity elevate The Fighter from standard boxer-movie fare and give it an extra one-two punch. 

Like Micky at the uplifting finale, this film is a winner.

04. Shutter Island

Completely forgotten about in awards season due to its release date in the first half of 2010, Shutter Island stands as my choice for the most underrated film of 2010. Adapted from Dennis Lehane’s book, Shutter Island is rife with mystery and feelings of foreboding throughout, and even having read the book beforehand, I was still thinking about it long after the credits had rolled. 

Atmospheric, tense and scary as hell, there’s more than a small dose of The Cabinet of Dr Caligeri in it, Martin Scorsese does some of his best directing in this perfectly sculpted and ingeniously shot (the bright lighting only goes to add doubt about what’s real and imagined) about Leonardo DiCaprio pretty much losing his mind. Inception who? There’s only room for one film about what’s real and what’s not with Leo DiCaprio wherein he has a crazy wife, bitches, and for me, that film’s Shutter Island!

03. True Grit

Whether it be Kill Bill, The Lion King, Hamlet or Inglourious Basterds, I do like a bit of the ol' revenge film genre. 

That said, the Western genre is probably my least favourite. If anyone could make me like the latter genre, though, it would be the Coens, by fusing it with the former. True Grit centres around 14-year-old Mattie Ross, who wants to avenge the death of her father by tracking down Tom Cheney, the man who killed him. 

She enlists the help of the unreliable but tough Rooster Cogburn, and soon the Texas Ranger LaBeouf wriggles his way into the mission, for he too has unfinished business with Cheney. On their journey they encounter various travails which truly test the level of grit they hold. 

True Grit is very much a film that embodies the whole The Climb mentality; the journey is almost more important than the destination, and no one captures this better than the heroine Mattie, played by Hailee Steinfeld. It’s hard to believe that this is Hailee’s first film role, because she is a revelation, her character is smart, resourceful and caring, and annoyingly stubborn. 

There is also a lovable normality to her heroine status; her attempts to fire a gun throughout the film always end in fail, and there’s also the novelty of seeing someone in such neat plaits talking about their plans for murder. Her performance, Shawshank Redemption-er Roger Deakin’s stunning cinematography and the film closing on Iris Dement’s gorgeous rendition of the hymn “Leaning on the Everlasting Arms” give True Grit an immense sense of beauty.

02. The Social Network

I had my doubts about whether a film about Facebook would justify its two-hour running time, but the story behind did actually make for compelling viewing. As soon as Mark Zuckerberg (his annoyingness captured perfectly by Jesse Eisenberg) goes home after a bust-date and logs onto livejournal to whine about it, I knew this was my mind of film (I do exactly the same, haha). 

The sequences of Zuckerberg coming to piece Facebook together with his uncannily good HTML skills were exhilarating to watch, but there were also small joys in watching the social misfires of him and his best friend Eduardo Saverin (I still maintain that the way Garfield shimmies up to Zuckerberg in the Harvard Jewish Mixer alone should have been enough to bag Garfield a Supporting Actor nomination, but whatever). 

Saverin, played by the delectable Andrew Garfield, functions as his right-hand man and put up the funding for his Facebook idea, yet, later on, got shot out from Facebook, both financially and as a founder. It is this kind of lack of scruples and mercantilism that make Mark Zuckerberg a difficult character to warm to, but thanks to Eisenberg’s performance and the sharp script from Aaron Sorkin (it makes sense that he is so adept at writing political dramas because there is a huge deal of politiquing in The Social Network), there is at least a context to his narcissism, if not a justification. 

Going from intensely funny (“I'm 6'5", 220, and there's two of me”) to very serious in the matter of moments, what The Social Network ultimately illustrates is that no-one rises to the top without a cost, and, by the closing shot of the film – Zuckerberg pathetically refreshing Facebook repeatedly in the hope that the girl he created Facebook to spite/impress will accept his friend request – whether or not all that money truly made our nerdy protagonist happy is still open to debate.

01. Toy Story 3

As a study of letting the things we once loved so much we couldn't imagine them not in our lives, nothing works better than Toy Story 3. Toy Story 3 marks the end to a  franchise that I grew up to; Toy Story I was the first film I saw in cinemas in England, true story.

It also completes a highly impressive personal hat-trick for me of their’s: WALL-E was my #1 film of 2008, Up was my #1 film of 2009 and now Toy Story 3 is my favourite film of 2010. 

And rightly so, because I highly doubt anyone other than Pixar could have me shed as many tears over toys as I did in the closing scenes of Toy Story 3. Featuring flawless visuals (the details to which the children’s playroom was rendered with showed weeks and weeks of work and attention to detail - that Totoro doll! Priceless) a voice cast featuring Tim Allen, Tom Hanks, John Cusack, Wallace Shawn and the inspired casting of Michael Keaton as Ken (haha!) as well as the introduction of a vaguely sinister purple teddy bear and a creepy looking giant baby, Toy Story 3 was not at a lack of intrigue, danger and suspense as well as the standard comedy bought by Buzz, Mr Potato Hed and T-Rex. 

Andy might have gone off to college and grown up, but Toy Story 3 illustrates that there is always a part of us, deep down, who holds onto the things that are most precious from our childhood. By the end of the film, my eyes were practically red from the crying, but those were happy tears. 

A bittersweet goodbye to a wonderful trilogy of films.

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!

10.10.10.

4.3.2.1 (Noel Clarke, 2010)

4.3.2.1 tells the story of four female friends in inner-city London who inadvertently get embroiled in a diamond heist. At the start of the film, they meet up in a café, then part ways for their own mini-adventures, not knowing that, over the next 48 hours, their paths will cross in more unorthodox ways. The film follows directly after they have parted ways, channelling the misdemeanours of each girl for the next few days. So far, so Tarantino. Except that, whilst I may find QT a little irksome in his continual self-advertising and self-love, at least he had something to be smug about. Noel Clarke, not so much. There’s split screen and samurai swords (as well as a tacky lesbian sex scene so that the lads are entertained) aplenty, but this film is a heavy case of style over substance. There are plotholes amongst plot holes in the film, and by fragmenting the foursome, it is difficult to find a single one who I cared about; Ophelia Lovibond is the self-harmer who is still bruised from an abortion she once had, Shanika Warren-Marland is a lesbian and wants everyone to know it, Tamsin Egerton a spoilt piano prodigy who swans about in New York spending her parents’ money and losing her virginity, and Emma Roberts a long-suffering checkout worker who pines for better days. None of the four leads give any kind of acting that’s worth a damn, Emma Roberts is and continues to have the kind of face that I feel needs a slap, though I will give credit where credit is due – whilst she can’t act for toffee, Miss Egerton does have astounding legs. The performances all uniformly below-par (bar perhaps Eastenders’ Michelle Ryan, who’s turn as a psycho bitch is at least entertaining), the dialogue is superficial and at times, cringe-inducing (Warren-Marland’s Kerrys sports a T-shirt saying Vagetarian, and the film’s shallow treatment of abortion leaves a lot to be desired) and despite the promising premise, ultra-cool settings in London and New York (my two favourite cities in the world) and soundtrack that hits more than it misses, this film is nonetheless an awful attempt to be with it. As a result, there is no story, no characters, and no quality. When you're an even worse British film of 2010 than Shank, you know you've got problems, blud.



Made in Dagenham (Nigel Cole, 2010)
From an unspeakably poor British film, to a much, much better one. Nigel Cole’s film tells of the Dagenham Ford strike in 1968. Led by feisty but down-to-earth Rita (Sally Hawkins, always lovely), the car-seat makers of the Ford plant decide that they deserve better, and, guided by Bob Hoskins, they take matters in their own hand. An unashamedly pro-women film, this delight does girl power far better than 4.3.2.1 ever could. As with 4.3.2.1, it’s anything but subtle (many characters have monologues and soliloquies talking about the strifes of being a woman) but such is the quality of Billy Ivory’s screenplay, that the film never feels manipulative, or force. And, unlike 4.3.2.1, the acting is stellar. Sally Hawkins is wonderfully natural and sweet, Bob Hoskins is amusing, Geraldine James is very very moving, and Rosamund Pike, though underused, illustrates the film’s key point that one should never skim the surface and automatically disregard a woman as just a pretty face. The costumes captured the earthy Essex chic wonderfully and overall, I walked out of the cinema with a big smile on my face.

The Prestige (Christopher Nolan, 2006)
Now, as you know, I wasn't the biggest fan of Inception. OK, that’s an understatement; I detested it and wanted my money back. But, I know that Chris Nolan is a mighty talented film director, and I wanted to reinforce this point by revisiting one of his more underrated films – The Prestige. Christian Bale and Hugh Jackman play magicians who’s friendship turns sour when a magic trick gone wrong has the latter’s wife dying. From then on, friends turn to enemy as the two continually look for ways to jeopardize each others’ magic acts. A wonderful study of obsession, The Prestige also boasts a clever look into the world of magic performance, as well as some REAL magic, which still turns my head. For once, Scarlett Johansson didn’t bug the crap out of me in her performance, and dual casting of her and Rebecca Hall had me cracking a smile at the Vicky Cristina Barcelona link. Michael Caine is as Michael Caine always is, awesome, and the cinematography, score and editing are all accomplished. Much, much, much more magical than Inception can ever hope to be.

The River (Jean Renoir, 1951)
In short, one of my favourite films of all time.

The film follows three girls – Harriet, Melanie and Valerie, and how their lives are changed by the arrival by a dishy (but troubled) soldier, Captain John (Thomas E. Breen, delicious). As an impressionable youth who often falls into and out of love, I connected with each of the three girls and their plight, and thought the portrayal of their crushes/infatuations accurate and true to life. The acting wasn’t really the best, but that is of secondary importance when much of the film is a love letter to India, and it is filmed so completely and utterly gorgeously. The lingering close-ups on the girls’ faces when they watch their beloved John are claustrophobic, but fully capture what it’s like to be young and in love, and the languid, philosophical pace of the film, whilst it may jar for some, really rang a bell with me. The ideal kind of film to watch in your PJs. Lush.

Sideways (Alexander Payne, 2004)
Paul Giamatti stars as Miles Raymond is a divorce, a jaded middle school teacher, aspiring writer and wine lover, on a road trip with his friend, bit-part actor Jack (Thomas Haden Church), the week before Jack’s wedding. Miles wants to play golf, taste wine and wind down, Jack would prefer to chase women and bonk about a bit before getting wed. Such is the set-up for Alexander Payne’s bittersweet and highly intelligent film, the ultimate “anti road trip movie”. Though I’m perhaps a bit young to appreciate the full genius of this film (certain scenes dragged on for me and it veered dangerously close to just the wrong side of pretentious), one thing I cannot fault about it is Paul Giamatti’s performance, the epitome of mensch. He turns Sideways into a mediocre comedy into a strong comedy-drama with his perfect comedy timing and emotional depth in the more controlled scenes. Furthermore, his romance with Virginia Madsen’s (also divorced) smart and sexy waitress Maya is awkward, initially somewhat embarrassing and unsure, as a believable romance should be. I don’t often care whether or not 40-somethings get the women of their dreams, but such is the power of Giamatti’s performance, that, for him, I did.

Out of the Past (Jacques Tourneur, 1947)

Film noir with Robert Mitchum, Kirk Douglas and Jane Greer, the former of which whom irked me in her irritating performance as the femme fatale who does nothing but cause trouble for men. Jacques Tourneur gets the best out of the rest of his cast, though, and thanks to that, his measured direction and the clever camerawork, this can be ranked as one of the finer film noirs of the 40s. Indeed, the impending sense of doom had me in a dread throughout, even though I knew it was just a film.