LISTFUL THINKING: Most Anticipated Movies of 2013

2 01 2013

I’ll still be stuck in 2012 at least until the Oscars are handed out and until then will be filling in with reviews of some of the movies I missed from the year.  But it’s time to move forward and look ahead to 2013, which could be a great year for cinema.  Several of my favorite filmmakers have projects due this year, which is what I will have to remind myself as I have to slog through a year that reportedly will give us 31 sequels and 17 reboots!

I had originally prepared a top 10 list for my most anticipated of 2013, but then I realized that since so many were TBD, there’s a chance we won’t see some of these movies until 2014.  So I added three movies at the beginning of the list that premiered on the 2012 fall festival circuit but will hit theaters for paying audiences in 2013.

Without further ado…

To The Wonder

#13
“To The Wonder” (April)
Written and directed by Terrence Malick
Starring Ben Affleck, Rachel McAdams, and Olga Kurylenko

A year ago, Terrence Malick was critical darling with his “The Tree of Life.”  Yet when “To the Wonder” arrived at Toronto and Venice, you’d have thought they were reviewing a Michael Bay movie.  How someone goes from hero to zero that meteorically is curious.  If nothing else, “To the Wonder” could be the most anticipated disaster of the year.

Frances Ha

#12
“Frances Ha” (May 17)
Directed by Noah Baumbach
Written by Noah Baumbach and Greta Gerwig
Starring Greta Gerwig, Mickey Sumner, and Adam Driver

Upon its many festival stops in 2012, it was called a mixture of French New Wave with early Woody Allen.  Combine that with the fact that it’s written and directed by Noah Baumbach, whose “The Squid and the Whale” knocked me off my feet, “Frances Ha” sounds like a movie custom-made for me.

The Place Beyond the Pines

#11
“The Place Beyond the Pines” (March 29)
Directed by Derek Cianfrance
Written by Derek Cianfrance, Ben Coccio, and Darius Marder
Starring Ryan Gosling, Bradley Cooper, and Eva Mendes

They called it a sprawling, multigenerational epic when it played Toronto.  And from the trailer for Derek Cianfrance’s follow-up to the harrowing “Blue Valentine,” it looks ambitious.  And honestly, I may be looking forward to this far more than several of the movies that made the ten.

Nebraska

#10
“Nebraska” (TBD)
Directed by Alexander Payne
Written by Bob Nelson
Starring Devin Ratray, Bruce Dern, and Bob Odenkirk

Alexander Payne’s “Election” alone makes anything from the director worth anticipating.  After a second writing Oscar back from a seven-year hiatus for “The Descendants,” he shortens his gap with a new movie within two years.  I’m a little skeptical, though, since the cast lacks some of the pop of Payne’s previous films, and he also didn’t write this one.

Inside Llewyn Davis

#9
“Inside Llewyn Davis” (TBD)
Written and directed by Joel and Ethan Coen
Starring Oscar Isaac, Carey Mulligan, and Justin Timberlake

The Coens have gone from 1960s Jewish suburbia in “A Serious Man” to the 1880s Wild West in “True Grit.”  And now … back to the 1960s for the folk music scene of Greenwich Village?  They sure like to keep us on our feet.

The Wolf of Wall Street

#8
“The Wolf of Wall Street” (TBD)
Directed by Martin Scorsese
Written by Terence Winter
Starring Leonardo DiCaprio, Jonah Hill, and Matthew McConaughey

Scorsese.  Enough said.  I suspect this will be the role that wins DiCaprio his Oscar, provided he doesn’t take Best Supporting Actor for “Django Unchained” this year.  With “The Great Gatsby” (see below) moving back to 2013, it assures us yet another fantastic one-two punch within the same year from DiCaprio.  ”Gangs of New York” and “Catch Me If You Can.”  ”The Departed” and “Blood Diamond.”  ”Shutter Island” and “Inception.”  Boom, Leo comin’ at ya!

Catching Fire

#7
“The Hunger Games: Catching Fire” (November 22)
Directed by Francis Lawrence
Written by Simon Beaufoy and Michael Arndt
Starring Jennifer Lawrence, Josh Hutcherson, and Liam Hemsworth

I enjoyed “The Hunger Games” this year, though I do see room for improvement in sequels.  Hopefully the writer of “Slumdog Millionaire” and “127 Hours” as well as the writer of “Toy Story 3” can elevate it because I’m certainly not expecting much from the director of the middling “Water for Elephants.”  And I just kind of need something to fill the void left from “Harry Potter.”

Elysium

#6
“Elysium” (August 9)
Written and directed by Neill Blomkamp
Starring Matt Damon, Jodie Foster, and Sharlto Copley

Anything shrouded in secrecy is enough to get me interested; that’s why “Prometheus” was at the top of this list for me in 2012 (that list was just mental).  And I think “District 9” could be merely scratching the surface of what Neill Blomkamp is capable of.  With Matt Damon and Jodie Foster headlining a sci-fi class warfare pic, this could be other-worldly levels of awesome.

Gravity

#5
“Gravity” (TBD)
Directed by Alfonso Cuaron
Written by Alfonso Cuaron, Jonas Cuaron, and Rodrigo Garcia
Starring George Clooney and Sandra Bullock

Speaking of other-worldly levels of awesome, let’s talk Alfonso Cuaron’s “Gravity.”  He hasn’t released a film for 7 years, but his last three films were the incredible stretch of “Y Tu Mama Tambien,” “Harry Potter and the Prisoner of Azkaban,” and “Children of Men.”  His “Gravity” has been described as “if ‘Avatar’ had been released in 1927 a week after ‘The Jazz Singer.’”  What.  Warner Bros. pushed it back from 2012 for what I imagine was fine-tuning, which just has me all the more on pins and needles.

Labor Day

#4
“Labor Day” (TBD)
Written and directed by Jason Reitman
Starring Kate Winslet, Josh Brolin, and Tobey Maguire

Jason Reitman, on a subjective and personal level, is probably my favorite director.  He’s had a flawless 4-for-4 stretch of films in his career, and though “Young Adult” might have been a step down from “Up in the Air,” that’s because the latter was basically perfect.  I’m fascinated to see what he can do with Kate Winslet and Josh Brolin.

Twelve Years a Slave

#3
“Twelve Years a Slave” (TBD)
Directed by Steve McQueen
Written by Steve McQueen and John Ridley
Starring Benedict Cumberbatch, Brad Pitt, and Michael Fassbender

Steve McQueen’s “Hunger” was pretty good, but his “Shame” was an absolutely ingenious triumph.  I can only imagine how he plans to top it in “Twelve Years a Slave,” the story of a New York man kidnapped and sold into slavery.  It’s got one heck of a cast, from Michael Fassbender to Brad Pitt to Quvenzhané Wallis and Dwight Henry’s first roles post-”Beasts of the Southern Wild.”  Is it too soon to cry Oscar?

Star Trek

#2
“Star Trek Into Darkness” (May 17)
Directed by J.J. Abrams
Written by Robert Orci, Alex Kurtzman, and Damon Lindelof
Starring Chris Pine, Zachary Quinto, and Benedict Cumberbatch

Abrams did one heck of a job turning around the “Star Trek” franchise in 2009.  And from the superb trailer, it looks like he plans to boldly go into Christopher Nolan territory with a beautifully lensed and incredibly emotional follow-up.  I can’t wait.

Gatsby

#1
“The Great Gatsby” (May 10)
Directed by Baz Luhrmann
Starring Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire

I heard today that Jay-Z is going to be scoring Baz Luhrmann’s adaptation of “The Great Gatsby.”  My first reaction was to rethink my placement of the movie as my most anticipated of 2013.  Then, I thought about it and realized that it might be a stroke of inspired brilliance that makes the movie even better.  Luhrmann is unparalleled in his ability to take old texts and make them feel alive, modern, and relevant.  Just look at how he took Shakespeare’s “Romeo & Juliet” and made it relevant for a post-MTV audience.  And think about how he seamlessly integrated pop songs into “Moulin Rouge,” set in 1900!  Luhrmann’s flair for the theatrical and opulent borders on gaudy on several occasions  but I think he’s the perfect match for F. Scott Fitzgerald’s tale of the rich and the glamorous.  I have no doubt his use of 3D will serve the movie well too.  All in all, his “The Great Gatsby” will most definitely be for and by our times … and could wind up being the movie that defines 2013.





REVIEW: Young Adult

15 03 2012

You’ll have to pardon my French throughout this review, but there’s no other way to put it.  ”Young Adult” is Diablo Cody’s courtroom drama-style comedy that puts the bitch on trial, both the Hollywood archetype and a very peculiar bitch of her own creation.  It’s really a genius work that serves as a genre deconstruction as well as a story of narcissism and self-loathing in the Facebook age that can stand up on its own two feet.  Then factor in the irresistible pathos of Jason Reitman, a director who tells the most authentic emotional narratives of anyone working in Hollywood today, and you’ve got one of the best movies of 2011.

In anyone else’s hands, Charlize Theron’s Mavis Gary would be a totally unsympathetic, curmudgeonly home-wrecker.  Her vile acts of shameless selfishness draw first our shock, then our ire.  Every minute longer she lingers on the screen, we hate her all the more.  She’s toxic, knows it, and does nothing to change it.

But dare I say it, I actually related to Mavis – way more than I should have, in fact.  While we can’t deny her agency for all her awful deeds, Cody refuses to let her be totally written off as someone mean-spirited down to her core.  Her story takes Mavis back to the root of her problems, her hometown of Mercury, Minnesota.  We get to see the society that spawns the psychotic ex-prom queen, forcing us to wonder how much of her fate is due to society and circumstance.

Read the rest of this entry »





Random Factoid #436

7 10 2010

Hooray for memes!  It’s been a while since I’ve been tagged in one of these … good to be back on the circuit!  Thanks to Sebastian for tagging me.  Here’s the pitch:

The idea is that you list off the first 15 directors that come to your head that have shaped the way you look at movies. You know, the ones that will always stick with you. Don’t take too long to think about it. Just churn em’ out.

Here are my 15:

  • Woody Allen
  • Judd Apatow
  • Darren Aronofsky
  • Alfonso Cuarón
  • Clint Eastwood
  • David Fincher
  • Sam Mendes
  • Fernando Meirelles
  • Christopher Nolan
  • Sean Penn
  • Roman Polanski
  • Jason Reitman
  • Martin Scorsese
  • Steven Spielberg (no, it isn’t cliched)
  • Quentin Tarantino

In case anyone was wondering, I got to about 10 and then had a major pause.





My “Interview with a LAMBpire”

13 08 2010

I got a cool feature over at the LAMB this week thanks to winning May’s “Cast the LAMB” for “Who’s Afraid of Virginia Woolf?” Andrew from “Encore Entertainment” is bringing back an old feature from the LAMB archives called “Interview with a LAMBpire.”  All great puns and wordplay aside, it’s a great idea and nice reward for the win.

I’m going to make you go over to the LAMB and check out the interview, but here’s an excerpt from the interview:

Andrew: Annette Bening was one of the actors you chose for your winning LAMB Casting Entry. Is there any type of role you’d like to Annette tackle that she hasn’t so far?

Marshall: Really raunchy comedy – The Kids Are All Right doesn’t count because she in essence played Carolyn Burnham from American Beauty. It should be something tasteful (I’m not telling her to star in the latest spoof from two of the six writers of Scary Movie), but something that is going to shock us. We should still think that she’s giving a great performance; however, I’d also love us to think, “THAT is the woman from American Beauty? Wow.”

I talk about Marion Cotillard, Jason Reitman, school, and all sorts of other things.  So head on over by clicking the picture below!





Random Factoid #360

23 07 2010

As I said recently in Random Factoid #351, I have become obsessed with listening to segments of NPR on my iPhone.  I heard a fantastic one yesterday called “The Lost Art of Credit Sequences.” Either click on the bolded link or on the picture to go to NPR’s site to listen to the segment.

If you listen, and I hope you do, you’ll hear Bob Mondello wonder why directors have moved away from really utilizing an opening credit sequence.  The two highest grossing movies of the last decade, “Avatar” and “The Dark Knight,” gave us virtually nothing – a helicopter shot of Pandora and a bat symbol emerging from blue flames.  So why is it that we just have to jump straight into the movie now?  The credits sequences are fun, and I always enjoy seeing a good one.

Really, the only director I can think of that still utilizes them well is Jason Reitman.  All three of his movies have done a great job setting the mood for what is to come, particularly the lovable “Juno.”  I can’t find a full YouTube link, but here’s the animation and the song.

I also really love the credits for “The Kingdom,” but here’s my all-time favorite: “Monsters, Inc.”

So what’s your favorite?  And why are they dying?





Random Factoid #258

12 04 2010

Recently, I’ve been reading quite a bit on how to better reach people with my blog.  A constant suggestion is the use of social networking.

But here’s my thing: I hate Twitter and I will NEVER get one.  Ever.

Anyone who knows me or reads me is surely aware that I am a massive Facebook-er.  So why am I so opposed to Twitter?  Here’s my reason.

My least favorite part of Facebook is the status update.  I’m sorry, but I don’t want to know what you are doing at all times of the day.  If I do, I will go look at your profile.  So why on earth would I want to commit to Twitter, which is basically ONLY status updates.  Unless you are Jason Reitman, who fascinates me, I don’t want to know every little thought that pops into your head.

So, I will never get a personal (or blogging) Twitter.  You will NEVER catch me Tweeting.





F.I.L.M. of the Week (April 9, 2010)

9 04 2010

Those of you who read this blog in December and January know that I’m kind of obsessed with the work of director Jason Reitman.  While doing some research on him, I came across some of his cinematic influences.  One of the filmmakers he lists is Alexander Payne.  I had seen one of Payne’s movies, “Election,” but I decided that I needed to further explore.  ”Sideways” was good, but it’s not something people my age are supposed to get.  The movie that really struck me was “About Schmidt,” so much in fact that I even decided to call it my “F.I.L.M. of the Week.”  (And just for the sake of the occasional refresher, the acronym stands for First-Class, Independent Little-Known Movie.)

The titular character, Warren Schmidt (Jack Nicholson), is at an end-of-life crisis.  After retiring, he enters the twilight years with cynicism and boredom.  His wife is aging quickly, and Schmidt often wonders where the woman that he married has gone.  His daughter (Hope Davis) is marrying a dimwitted guy who sports a mullet (Dermot Mulroney).  Despite his best attempts, he can’t get her to reconsider.  In all aspects of life, Schmidt feels useless.

But soon Schmidt is left alone, and he decides to recapture control of his life by driving a Winnebago to see sights from his childhood en route to the wedding.  Even after logging all these miles, he still can’t escape the feeling that his life is inconsequential.

“About Schmidt” is at its best whenever it shows Schmidt trying to make a difference in someone’s life.  After seeing an ad on TV, he decides to sponsor a child in Tanzania named Ndugu.  He can’t pronounce the name, but Schmidt earnestly wants to help this child.  He goes further beyond providing monetary support and makes contact with Ndugu, writing him many revealing letters about his own life.  It’s somewhat pathetic to think that Schmidt can only tell these things to Ndugu, but it further reveals how lost this man is.

It’s easy to see how movies like this have influenced Jason Reitman (for example, the wedding scenes in this and “Up in the Air”) and other directors, and “About Schmidt” is a movie that deserves to be imitated.  Jack Nicholson gives no doubt as to why he is one of the best – if not the best – actors of our time.  The supporting performances are great as well, particularly Kathy Bates as Schmidt’s overbearing future in-law.  The Golden Globes classify this as a drama, and in large part, that’s what it is.  But “About Schmidt” has enough laughs to satisfy any moviewatching mood you could possibly be in.





Random Factoid #197

10 02 2010

When I wrote Random Factoid #141, I hadn’t done this in over half a decade. Now, I have done it twice in less than three months.

I have read the source material of a movie after I saw the movie.

It should come as no surprise to anyone that I read “Up in the Air,” the novel by Walter Kirn. I brought it with me to Argentina and began it there when I found out that I would be interviewing Kevin Renick. I was under the mistaken impression that he wrote the song after reading the book, so I pile-drove through the first half in order to be prepared. After more research, I discovered that he hadn’t read the book, and my pace slowed quite a bit.

Overall, I liked the book. I much prefer Jason Reitman’s take on it though, which is very distinctly different from Kirn’s novel.

(And for those of you who read Random Factoid #195, yes, it was the movie tie-in edition.)





Random Factoid #185

29 01 2010

Tonight, I sat down to watch “Rocket Science,” the movie which led Jason Reitman to write the part of Natalie Keener in “Up in the Air” specifically for Anna Kendrick, on my AT&T U-Verse DVR.  After a minute, it stopped.  Turns out that at 3:50 A.M. a few days ago, we ran out of space on the DVR.  This is especially frustrating because “Rocket Science” is nearly impossible to find, and I managed to find the one time that it would be on Cinemax for weeks.

I’ve talked about the tight space before, but I can’t believe there is no way to check on AT&T how much time is left before something like this happens.  This is ridiculous.  I am very upset that I now have to wait several more weeks to watch “Rocket Science,” but what if it was something more important that my trite trifles?  What if AT&T only recorded one minute of something truly important?  It just gets you thinking.





INTERVIEW: Kevin Renick

27 01 2010

If you have read this blog with any sort of frequency over the past month, you will undoubtedly know that I have something resembling an obsession with the movie “Up in the Air.”  So when I found out that Kevin Renick, the singer of the film’s titular song, had discovered my blog and posted a link on his website to me, saying “lots and lots about UP IN THE AIR can be found at this info site,” I was ecstatic.

I perused around his site and found an e-mail address for the singer.  An idea pulsed through my head: why not humbly ask for an interview?  Much to my surprise, Renick happily agreed.  He couldn’t have been more kind throughout the process, offering to conduct the interview in whatever manner was easiest for me.  We opted for e-mail because it allowed more time for thoughtful and more eloquent answers.

We talked plenty about “Up in the Air” – the movie and his song – and also about what lies ahead for him in the music industry.  Renick’s words were incredibly profound.  Despite the spotlight that has been shined on him from this burst of fame, he remains wholeheartedly humble.  For those who do not know Renick’s story, he gave a demo tape of his song to Jason Reitman at a lecture.  The director loved the song enough to include it in the movie “Up in the Air.”  According to Renick, “Jason liked the ‘D.I.Y. aesthetic’ of my song….[and he stated that] it gave an “authentic voice” to all the people in the U.S. who’ve lost their job and their direction.”

Read the rest of this entry »





Random Factoid #169

13 01 2010

Am I really that obsessed with “Up in the Air?”

I mean, I’m pretty vocal about my love.  But literally everyone I know that has gone to see it makes sure to tell me that they did.

Jason Reitman, Paramount Pictures, take note as to who is delivering plenty of money into your hands this winter.





REVIEW: Up in the Air

20 12 2009

I’ve never been much of a person for philosophy.  However, I do love the story about the philosophy professor who teaches a whole class and then concludes with an exam that has one word written on it: Why?

The other day, I decided to give myself the same exam.  Why?  Why do I spend so much of my life obsessing over movies?  What are movies other than a bunch of moving images?  What does my life amount to if I spend the entirety of it staring at a screen?

A few hours later, I sat down in a theater and watched Jason Reitman’s latest feature, and every doubt or qualm I had about the time I devote to cinema went away.  ”Up in the Air” is a movie that reminds you why you love the movies, and I would be willing to throw away days of my life to find two hours of cinema as perfect as these.

Here, Reitman adapts a novel by Walter Kirn but does not merely transpose page to screen.  He takes Ryan Bingham (George Clooney), the man who becomes fascinated with grabbing frequent flyer miles while traveling around the country firing people, and sends him on a different route.  Reitman’s trajectory goes straight through a chilly air current of recession and job loss affecting millions of Americans at this very moment, but at no point does “Up in the Air” hit turbulence.  Reitman remains in complete control of his vessel at all times, guiding with a firm and confident hand.

Everything in Ryan Bingham’s life involves reducing commitment.  His job is fueled not just by bad economy but also by people who want an orderly, unemotional way to let employees go.  His life consists of routine and self-sufficiency, all the while proving to himself that he can feel surrounded when others insist him to be isolated.  He preaches his lifestyle without attachment to those willing to listen as the only way to a life completely free of burden.  Where others fill their lives with relationships and family for satisfaction, Bingham turns to elite rewards programs and a lofty goal of earning ten million frequent flyer miles.

But two forces begin to disrupt Bingham’s smooth sailing.  The first is Natalie Keener (Anna Kendrick), the callow new employee fresh out of Cornell who proposes a new system that threatens the high-flying lifestyle that he has turned into an art.  In order to reduce travel budgets and keep employees at home, she allows for the further desensitization of their terminations by simply informing those out of a job through a computer.  Bingham objects not just because of the obvious hazard it poses to his way of life but because he sees himself as more than just a messenger boy.  He is a voice of reassurance and a reminder that greater things lie in store; losing your job isn’t the end, it’s the beginning if you allow it to be.  To give her a taste of what it feels like to drop the ax on unsuspecting Americans, the boss (Jason Bateman) sends Natalie on the road with Bingham, who is less than willing to sacrifice for her to gain some insight.  The second force is Alex (Vera Farmiga), the female counterpart and kindred spirit of Bingham.  They instantly connect over the joys of traveling, and passionate feelings emerge.  But due to the nature of the lives they lead, neither is looking for any sort of commitment.  Yet as chance encounters become planned encounters, Bingham begins to wonder if his firm resolution to a life without connections is really one without burden. Read the rest of this entry »





F.I.L.M. of the Week (December 4, 2009)

4 12 2009

In honor of Jason Reitman’s third feature, “Up in the Air,” opening today, I wanted to use the “F.I.L.M. of the Week” for the first time in correlation with the release of a movie in theaters.  This week’s “F.I.L.M.” is Reitman’s first feature, “Thank You for Smoking.”  A satire that bites with the sharpness of piranha’s teeth, this look at the lobbying industry is absolutely brilliant.  I have come to expect nothing less from Reitman, but he exhibits the deftness of an old pro as a newcomer.

Nick Naylor (Aaron Eckhart) has the gift of oratory and the art of spin, making him the perfect person to argue on behalf of the tobacco industry.  He never tries to justify himself or tobacco; he simply uses the rationale that by proving the other person wrong, you must be right.  Affectionately titled a “Merchant of Death,” he often meets for lunch with his respective counterparts in the alcohol and firearms industry (Maria Bello, David Koechner).  The film follows Nick after the announcement of a proposed Congressional measure to put a “POISON” label on all boxes of cigarettes by a peevish Vermont senator (William H. Macy).  However, Nick’s main struggle is not the label that threatens to destroy the product he promotes, but rather the struggle to balance the job he does with his requirement to be a good father to Joey, his budding adolescent son.  The film is at its best when the contrast between the two is evident: Joey has very black-and-white morals and can’t seem to understand why Nick has such grey ones in lobbying for an industry that kills millions of people each year.

Reitman also penned the screenplay, which is packed to the brim with piquant wit and exciting characters.  He also gets the best out of his actors, and the performance on celluloid matches their panache on the page.  Especially exciting to watch is Aaron Eckhart as he really gets to the core of Nick Naylor.  We really see what makes him tick, and as the story progresses, Eckhart really wrestles with his demons.  He gives us one of the most full and electrifying characters that comedy has ever seen, a true sensation.  ”Thank You for Smoking” would be a crown jewel for an accomplished director, but as a first feature, Jason Reitman has set the bar extremely high for his masterpiece.  And if “Up in the Air” is as good as I hear, that bar is up in the atmosphere.





Oscar Moment: National Board of Review Winners

3 12 2009

The first big awards of the season are here!  Below are the winners of the National Board of Review’s 2009 awards.

Best Picture: Up in the Air

Top 10 List (does not include the winner of Best Picture):

An Education
(500) Days of Summer
The Hurt Locker
Inglourious Basterds
Invictus
The Messenger
A Serious Man
Star Trek
Up
Where the Wild Things Are

Best Director: Clint Eastwood, Invictus

Best Actor: (tie) George Clooney, Up in the Air and Morgan Freeman, Invictus

Best Actress: Carey Mulligan, An Education

Best Supporting Actor: Woody Harrelson, The Messenger

Best Supporting Actress: Anna Kendrick, Up in the Air

Best Adapted Screenplay: Up in the Air

Best Original Screenplay: A Serious Man

Best Animated Film: Up

Best Documentary Film: The Cove

Best Ensemble: It’s Complicated

Breakthrough Male Performance: Jeremy Renner, The Hurt Locker

Breakthrough Female Performance: Gabourey Sidibe, Precious

(For a full list of winners, see the National Board of Review’s release on their official website.)

Now here’s some more in-depth analysis on the results.

Read the rest of this entry »





Oscar Moment: First Predictions!

1 12 2009

I’ve held off as long as I could on issuing my predictions, but now I simply cannot wait.  It is December and Oscar season is about to kick into high gear.

Don’t fret if you haven’t heard of some of these movies.  You will soon.  The National Board of Review, the first precursor that deserves to be taken seriously, issues its list this week.  Critics circles from all over the country will begin to put forth their lists, and then we get the Golden Globe nominations on December 17th.

So, without further ado, here’s my first stab at predictions.

Read the rest of this entry »








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