LISTFUL THINKING: 2012 Superlatives

1 01 2013

New Year’s Day always marks a very interesting balancing act, reflecting on the old while also ringing in the new.  So while people are still thinking about 2012, let me offer up the first annual Superlatives post for the films of 2012.  I’ve already weighed in with the best and worst 10 of 2012, but what about the other 80 movies of the year?  What about the performances?  What about all sorts of other things?  This is the post where I get all sorts of stuff floating in my mind out there.

For the sake of review, I’ll go ahead and re-list my 10 best and worst of 2012.

Top 10 of 2012

10 Best of 2012: “21 Jump Street,” “Argo,” “Hitchcock,” “Killing Them Softly,” “Looper,” “Bernie,” “Zero Dark Thirty,” “Les Misérables,” “The Master,” “The Queen of Versailles

Prometheus

Honorable Mentions: “Rust and Bone,” “Prometheus,” “Beasts of the Southern Wild,” “Wreck-It Ralph,” “End of Watch,” “Holy Motors

Worst 10 of 2012

10 Worst of 2012: “The Grey,” “The Bourne Legacy,” “John Carter,” “Gone,” “The Vow,” “Killer Joe,” “The Paperboy,” “The Deep Blue Sea,” “The Watch,” “Casa De Mi Padre

pitchperfect2

Honorable Mentions: “Pitch Perfect,” “Something From Nothing: The Art of Rap,” “Abraham Lincoln: Vampire Hunter,” “First Position,” “Keep the Lights On,” “Being Flynn

10 More 2012 Releases I Still Need to See: “The Hobbit: An Unexpected Journey,” “The Impossible,” “Promised Land,” “The Intouchables,” “Seven Psychopaths,” “Hyde Park on Hudson,” “Not Fade Away,” “Smashed,” “The House I Live In,” “Searching for Sugar Man”

Vanellope

5 Most Surprising Movies of 2012: “Wreck-It Ralph,” “Bernie,” “End of Watch,” “Hitchcock,” “21 Jump Street

Denzel Washington in Flight

5 Most Disappointing Movies of 2012: “The Dark Knight Rises,” “Django Unchained,” “Lincoln,” “Flight,” “The Bourne Legacy

Bachelorette

10 Most Forgettable Movies of 2012 (in alphabetical order): “Bachelorette,” “Hysteria,” “Jeff, Who Lives at Home,” “Lola Versus,” “Man on a Ledge,” “Men in Black III,” “Salmon Fishing in the Yemen,” “Seeking a Friend for the End of the World,” “Take This Waltz,” “Trouble with the Curve

Silver Linings Playbook

5 Most Rewatchable Movies of 2012: “21 Jump Street,” “Silver Linings Playbook,” “Wreck-It Ralph,” “Argo,” “Ted

Lincoln

5 Movies of 2012 I’m Glad I Saw But Will Never Watch Again: “Lincoln,” “Amour,” “The Invisible War,” “Compliance,” “ReGeneration

Killing Them Softly

5 Most Underrated Movies of 2012: “Killing Them Softly,” “Les Misérables,” “Prometheus,” “Safety Not Guaranteed,” “End of Watch

The Avengers

5 Most Overrated Movies of 2012: “The Sessions,” “Lincoln,” “Django Unchained,” “Life of Pi,” “The Avengers

PSH

5 Movies That Got Better with Distance and Time: “Killing Them Softly,” “Zero Dark Thirty,” “The Master,” “Silver Linings Playbook,” “Prometheus

Brave

5 Movies That Got Worse with Distance and Time: “Brave,” “Lincoln,” “Flight,” “The Sessions,” “The Dark Knight Rises

Argo

5 Movies That Felt Shorter Than Their Runtime: “Zero Dark Thirty,” “Les Misérables,” “The Dark Knight Rises,” “Argo,” “Django Unchained

Keira Knightley in "Anna Karenina"

5 Movies That Felt Longer Than Their Runtime: “Lincoln,” “Anna Karenina,” “This Is 40,” “Damsels in Distress,” The Five-Year Engagement

BOTSW

Breakout Performances: Quvenzhané Wallis in “Beasts of the Southern Wild,”  Eddie Redmayne in “Les Misérables,” Ezra Miller in “The Perks of Being a Wallflower,” Garrett Hedlund in “On the Road,” Scoot McNairy in “Argo

Silver Linings Playbook

Breakthrough Performances: Bradley Cooper in “Silver Linings Playbook,” Michael Pena in “End of Watch,” Jack Black in “Bernie,” Channing Tatum in “21 Jump Street,” Elizabeth Banks in “People Like Us

Best Exotic

Breakdown Performances: Anna Kendrick in “Pitch Perfect,” Salma Hayek in “Savages,” Tom Cruise in “Rock of Ages,” Emile Hirsch in “Killer Joe,” Dev Patel in “The Best Exotic Marigold Hotel

frame 01021605R

Best Body of Work in 2012: (tie) Anne Hathaway in “The Dark Knight Rises” and “Les Misérables,” Jennifer Lawrence in “The Hunger Games” and “Silver Linings Playbook

The Deep Blue Sea

Worst Body of Work in 2012: (tie) Rachel Weisz in “The Bourne Legacy” and “The Deep Blue Sea,” Taylor Kitsch in “John Carter” and “Savages

Jessica Chastain in Zero Dark Thirty

Best Heroes: Jessica Chastain as Maya in “Zero Dark Thirty,” Mark Ruffalo as The Hulk in “The Avengers,” Hugh Jackman as Jean Valjean in “Les Misérables

John Carter

Worst Heroes: Andrew Garfield as Spider-Man in “The Amazing Spider-Man,” Taylor Kitsch as John Carter in “John Carter,” Jeremy Renner as Aaron Cross in “The Bourne Legacy

Catwoman

Best Villains: Anne Hathaway as Selina Kyle/Catwoman in “The Dark Knight Rises,” Russell Crowe as Javert in “Les Misérables,” Leonardo DiCaprio as Calvin Candie in “Django Unchained

Skyfall

Worst Villains: Tom Hardy as Bane in “The Dark Knight Rises,” Javier Bardem as Silva in “Skyfall,” Rhys Ifans as Lizard in “The Amazing Spider-Man

Joaquin

Best Possessed Performance: Joaquin Phoenix in “The Master

The Paperboy

Worst Possessed Performance: Nicole Kidman in “The Paperboy

Bernie

Best Comedic Performance: (tie) Jack Black in “Bernie,” Channing Tatum in “21 Jump Street

The Watch

Worst Comedic Performance: The cast of “The Watch

Uggie

Best Cameo: Uggie in “The Campaign

Ryan Reynolds

Worst Cameo: Ryan Reynolds in “Ted

Eddie Redmayne

Best Singing: Eddie Redmayne in “Les Misérables

Alec

Worst Singing: Alec Baldwin in “Rock of Ages

That’s about all I can come up with for now … may add to this later!  Happy 2013, everyone!





REVIEW: End of Watch

13 10 2012

There’s a very specific kind of movie you’d immediately think of when I say a “cop movie,” and it is exactly that kind of film that “End of Watch” so ably resists becoming.  It avoids clichéd conventions of the buddy cops but doesn’t set up its two protagonists as polar opposites and rivals either.  They aren’t fighting some overly symbolic battle against evil, nor are they navigating a disturbingly grey world.

As Brian Taylor and Mike Zavala, Jake Gyllenhaal and Michael Peña give assured, confident, and assertive performances as two ordinary cops who find themselves drawn into a web of crime beyond their wildest imagination.  We follow them through their days on the job in the same way a slice-of-life British drama would … although the characters in those movies usually don’t uncover grotesquely disfigured bodies or virtually enslaved humans.

These shocking sights are made all the more unsettling by writer/director David Ayer’s sparing use of them.  Sensationalism in a sensational movie by nature loses its sensation.  When those same sights punctuate the quotidian, they jolt us out of our slouched position in our seats.

Ayer’s execution isn’t exactly flawless; his opportunistic seizing of the “found footage” filmmaking style feels a little bit forced, and then it is abandoned all together.  “End of Watch” also suffers some minimal damage from ridiculous ethnic actors – I mean, come on, do the Hispanics really not know another word in English other than the f-bomb?  But overall, he crafts one hell of an emotionally involving, sensorily engaging, and wholeheartedly engrossing police drama that never strays far from a firm base in reality and humanity.  A- 





REVIEW: Pitch Perfect

4 10 2012

It took three years for the “Glee” high to trickle down into film? Surprising that Hollywood didn’t milk the a capella pop song earlier because now that goose is no longer popping out golden eggs … and now we’re left with “Pitch Perfect.”  It’s a movie happy to riff on the vocal talent Ryan Murphy assembled but wants none of the social responsibility.

It takes swipes at minorities, overweight people, homosexuals … really anyone who doesn’t fit in.  “Pitch Perfect” is stuck in the old normal, which may be gleeful fun for some but just makes me wince.  (I have to have set some kind of record for Ryan Murphy series wordplay there.)  If the film’s humor isn’t knocking down the little guy, it’s making some HEINOUS pun on the word a capella.  If you cringe at the thought of hearing someone say “A ca-scuse me?!” with a straight face, that’s only the tip of the iceberg.

I guess it’s also trying to adhere to the old normal of high school/college movies, trying to fashion itself as the new “Mean Girls” … which itself was trying to be a new John Hughes film.  “Pitch Perfect” even goes as far as to blatantly self-reference and name drop these movies!  I’m not entirely opposed to trying to make lightning strike the same place twice.  However, if you are going to so patently harken back to a classic, you have to be prepared to face the an apples-to-apples comparison.

And “Pitch Perfect” is no “The Breakfast Club.”  Heck, it’s more like a “Jennifer’s Body,” a comedy that inspires more groans than laughs and thinks it has a whole lot more insightful things to say about growing up than it actually does.  Not even the presence of Anna Kendrick, who won my heart in “Up in the Air,” can salvage this movie.  The only worthwhile segments in the bloated two hour duration were the well-orchestrated a capella pieces, but you can just listen to those on YouTube or Spotify or however the kids listen to music these days.  There’s no reason you need to see the whole rest of the movie just to get to those.  C- 





REVIEW: 50/50

29 09 2011

The cinema of cancer is a curious thing.  The disease is usually a tack-on to the end of a movie, merely a plot device meant to make the audience appreciate the fragility and fleeting nature of life.  When the film is centered around it, the pathos is meant to unlock our most tucked-away, maudlin sentiments.

Cancer is less of a medical condition on screen than it is a transformative experience.  The victim is less of a human and more of a fighter or soldier, the underdog forced to do battle for their life.  Having known people who have been struck with this horrible disease – some emerging victorious, others not so fortunate – I can attest that they must indeed lace up their boxing gloves and pugnaciously duke it out.  But there’s more to the struggle than chemotherapy and radiation; there’s a desire for a Warren Harding-style return to normalcy as people insist on treating the patient as a different person living in a different world.

This is precisely where “50/50,” Jonathan Levine’s sophomore feature, excels.  Rather than hitting us with a tsunami of sadness, it takes us through all the emotions of living with and through cancer.  From Will Reiser’s moving script comes a story “inspired” (as the lawyers required it be advertised), by real experiences that is rooted in a startlingly authentic humanity.  His protagonist, Joseph Gordon-Levitt’s Adam, is never defined by his unpronounceable cancer; he is defined by his responses to a landscape that shifts much faster than he has anticipated.

Read the rest of this entry »





F.I.L.M. of the Week (September 3, 2010)

3 09 2010

My so-called Comedy Week comes to a conclusion today with this “F.I.L.M. of the Week,” a little indie comedy by the name of “Rocket Science.”  It’s a great high school movie, covering a group that gets very little cinematic coverage – the debaters.  Conceived by documentary filmmaker Jeffrey Blitz after observing Spelling Bee contestants and reflecting on his own adolescence, he creates a very authentic high school environment where youth is neither sneered at nor idealized.

The movie’s hero is perhaps one of the unlikeliest debaters, a fifteen-year-old with a stutter by the name of Hal Hefner (Reece Thompson).  With his speech impediment, he is not naturally drawn to the art of rhetoric.  Like so much in life, he winds up doing it to get a girl, in this case the team’s star debater, Ginny Ryerson (Anna Kendrick).  After her previous partner dropped out of school because of an embarrassing mid-speech moment at the state championships, Ginny enlists Hal to be her new sidekick.  His venture into the world of debating is a funny-sad mix of love, lies, and betrayal (only not set against the backdrop of an implausibly corny ABC Family series).

Blitz and the movie received plenty of accolades from the Sundance Film Festival and the Independent Spirit Awards, and all laurels are much deserved.  “Rocket Science” is an honest look at the development of our selves and values in high school, something everyone goes through in those for years.  As someone still undergoing these changes (albeit in their final year), I definitely found that the film spoke to me on a very personal level.  Much like you don’t need to be Greek to connect with “My Big Fat Greek Wedding,” you don’t need to be a debater to get this movie.  The lessons can apply to any group or activity in high school.

Want to know how Anna Kendrick became Golden Globe, SAG, and Oscar nominee Anna Kendrick?  Look to “Rocket Science” for the answer.  Jason Reitman, writer/director of “Up in the Air,” wrote the part of Natalie Keener specifically for her after seeing her play Ginny.  I certainly wouldn’t have stumbled upon “Rocket Science” had it not been for Kendrick’s wowing turn in “Up in the Air,” and I’m certainly glad I discovered both her and this both heartwarming and contemplative movie.





REVIEW: Scott Pilgrim vs. The World

21 08 2010

The video-gaming culture that has shaped the lives of my generation has never been so vibrantly alive as it is in “Scott Pilgrim vs. The World,” a movie with as much frenetically spontaneous action as you can handle without toggling a joystick.  Based on a comic-book series, Edgar Wright’s third film takes a reality from in front of a console and puts it on screen: any loser, even if they are as frail or feeble as Michael Cera, can kick butt and take names in the world of the video game.

Cera’s Candian chump, Scott Pilgrim, is a pathetic twenty-something bunking with the affluent homosexual Wallace Wells (Keiran Culkin, Macaulay’s little brother) and playing bass for the band Sex Bob-Omb.  Much to the dismay of his friends, he starts dating high-schooler Knives Chau (whose name should have been a warning).

But everything falls away when he sees pink-haired Ramona Flowers (Mary Elizabeth Winstead) delivering a package on roller-skates in the Toronto snow.  After some casual stalking at a party, they get together, drawing Scott into a world of violence he can’t even fathom.  He has to defeat Ramona’s seven evil exes (not ex-boyfriends, as she consistently reminds him) in order to date her.  Unfortunately for him, they have formed a League to hunt him down, and their union includes a music mogul (Jason Schwartzman), an egotistical skateboarder-turned-movie star (Chris Evans), and a vegan with powers (Brandon Routh).

Read the rest of this entry »





Random Factoid #317

10 06 2010

Yesterday, I totally had what M. Carter calls a “Real-Life Movie Moment.” She has a whole template for describing them, so I’ll follow it.

The movie: “Up in the Air”

The moment: While at my dad’s birthday dinner last night, we were waited on by a team of waiters.  The first was an older, more experienced man, perhaps not just a waiter but even a manager.  The second was a younger woman, clearly a trainee.  I assume it was one of her preliminary days on the job because he was walking her through the motions and giving her little tips throughout our meal.  While serving me a cup of gumbo, I could hear him whispering to her, “The spoon goes on the right.  Now reach around him and put it down.”  She did a fine job, but she was clearly flustered and nervous.  She offered cookie-cutter courtesy and was so business oriented that she was more of a robot than a waitress.

The correlation: Ryan and Natalie, duh!  Ryan Bingham (George Clooney) takes neophyte Natalie Keener (Anna Kendrick) with him on an aerial adventure of lay-offs.  He understands the art of offering these people some sort of sympathy and respect.  She, on the other hand, feels that the firings could go more efficiently if they are performed mechanically and are desensitized.

I just see movies everywhere.  Life imitating art.





2009: Best Supporting Actress

2 03 2010

It’s here.

By this point, the ballots are in, and all the campaigning is over. The politics of the Oscars are over, and now we are just left with the scripts, the performances, and the movies.  Rather than do one big post discussing and analyzing all of the categories, I want to use this week to honor the films and performances themselves.

Penelope Cruz in “Nine”

IN MY OWN WORDS: “Cruz is absolutely mesmerizing from the first instant we see her traipsing around on some pink fabric.”

She’s here because … she was the highlight of a pretty disastrous movie, pulling off one of the year’s sexiest performances.

Vera Farmiga in “Up in the Air”

IN MY OWN WORDS: “Vera Farmiga walks a very thin line between “feminine and agressive,” according to Reitman, and she never gives us any hint that she will lose her balance.”

She’s here because … she is a delightful female counterpart to George Clooney, and her performance illuminates Clooney’s character as a whole.

Maggie Gyllenhaal in “Crazy Heart”

IN MY OWN WORDS: “It’s a performance very much in Gyllehaal’s comfort zone, and she’s pleasant to watch.”

She’s here because … she holds her own against the renowned Jeff Bridges, and she has a lot of respect amongst actors (not unlike her co-star).

Anna Kendrick in “Up in the Air”

IN MY OWN WORDS: [Kendrick] doesn’t show promise as a star; Natalie Keener has made her one.

She’s here because … she is a brilliant discovery, making uptight lovable and reminding us of the happiness and pain that comes with having real human relationships.

Mo’Nique in “Precious”

IN MY OWN WORDS: “Mo’Nique delivers a performance that is absolutely harrowing.”

She’s here because … this is the most emotionally gripping performance of 2009, and it’s equally shocking to think that it comes from the actress who headlined “Phat Girlz” three years ago.

Marshall’s “Oscars”

The Academy did a pretty good job this year. My top five match 4/5 with their list.

I would replace Maggie Gyllenhaal with Rosamund Pike for “An Education.”  Both played relatively simple characters: Gyllenhaal the devoted single mother and Pike the dumb blonde.  But the distinction arises from what they do with it.  Gyllenhaal seems complacent with sticking to the stock character; on the other hand, Pike does fascinating things with Helen.  I didn’t feel like I was watching the ten millionth air-headed rich blonde because Pike made it feel refreshing and new.

In my review, I said about Pike:

“The performance that will probably go criminally unheralded is Rosamund Pike as one of David’s companions.  She is the typical ‘dumb blonde’ stereotype, but she brings her own flair to it in a way that makes the tired stock character seem brand new.  When she is on screen, you can’t help but grin.”

So, at Marshall’s Oscars, the nominees are…

Penelope Cruz, “Nine”
Vera Farmiga, “Up in the Air”
Anna Kendrick, “Up in the Air”
Mo’Nique, “Precious”
Rosamund Pike, “An Education”

In case you don’t realize this, my favorite is revealed in the “should win” listed below.

Predictions

Should win: Mo’Nique, “Precious”
Could win: Anna Kendrick, “Up in the Air”
Will win: Mo’Nique, “Precious”

No way in hell anyone other than Mo’Nique wins. She’s just too good.





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.





Random Factoid #160

4 01 2010

While browsing the Entertainment Weekly website yesterday, I came across a picture (above) from a photoshoot with “Up in the Air” stars George Clooney, Anna Kendrick, and Vera Farmiga.

The caption of the photo reads:

What do the jet-setting cast members of Up in the Air do first when they check into a hotel room? ”I look at the view,” says Vera Farmiga. Adds George Clooney: ”I check out the channels on the TV.” As for Anna Kendrick? ”I’m probably a bed-tester. I want to know if it’s going to be a good bed. That’s the only thing that matters in a hotel.”

This inspired a factoid!  So, what do I do whenever I check into a hotel room?

I instantly run to the TV and check what in-room movies are available.





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 »





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: “Up In The Air”

4 10 2009

You’ve already heard me say my fair share about “Up in the Air,” but a new trailer was released and I couldn’t help myself.  This trailer gives us more information about the plot, yet it still leaves us with curiosity and excitement.

Most pundits are now calling “Up in the Air” the frontrunner for many Oscars including Best Picture.  They say this with confidence after the movie opened to unanimous critical acclaim at the Toronto Film Festival last month.  As I stated in a post a few weeks ago, I am really pumped for this to open.  If only George Clooney didn’t have two other movies opening in November, I could be seeing the movie a month earlier than I am forced to now.

I have already made a point to highlight Clooney and Reitman, so I will take this “Oscar Moment” to focus on the supporting cast.  Of these, the most prominently featured in the trailer is Anna Kendrick, who plays Natalie, the naive Cornell graduate assigned to shadow Ryan Bingham (Clooney).  I have not seen any of Kendrick’s previous work; some girls might recognize her from a certain movie that I refuse to mention (if forced to reference it, I will simply call it “the T-word”).  But Reitman wrote the part of Natalie specifically for Kendrick, so clearly she has chops.

Another supporting actress worth noting is Vera Farmiga, who plays Alex Goran, the frequent traveler of Bingham’s dreams.  Unlike Kendrick, I have seen one of Farmiga’s performances as the spellbinding lone female presence in “The Departed.” Like Kendrick, Reitman wrote the role especially for her.  From my limited vantage point, it would appear that Farmiga has the more daunting character to tackle because Alex seems to illuminate a sensitive side of Bingham through their encounters.

While having a great supporting cast makes for an outstanding movie, it can often prove troublesome around awards season.  In supporting categories, it is not unheard of to have two nominated performances from the same film.  But the supporting actress category is teeming with talent this year.  Mo’Nique is a virtual lock, and, barring a complete meltdown, “Nine” will most assuredly have one actress in the category (my money is on Marion Cotillard).  I see three possible scenarios for Farmiga and Kendrick, sorted below in order of probability:

  1. One of the women will emerge an audience favorite and will be nominated.
  2. The movie proves so unstoppable that both are nominated.
  3. Voters are split between the two and neither receives a significant enough showing to receive a nomination.

Most experts seem to be leaning towards the first scenario, and they think it will be to Kendrick’s benefit.  I have to say I agree because the Best Supporting Actress category has traditionally been one to reward young talent.  The second scenario seems more likely to play out in favor of “Nine” just because the actresses are already so established and loved (Winners Nicole Kidman, Marion Cotillard, Judi Dench, Penelope Cruz; nominee Kate Hudson).  I just love thinking about these types of situations because it means a lot of great performances and movies – who doesn’t want that?

BEST BET FOR NOMINATIONS: Best Picture, Best Director (Jason Reitman), Best Actor (George Clooney), Best Supporting Actress (Anna Kendrick and/or Vera Farmiga), Best Adapted Screenplay