Johnny Simmons

I’m a bit unexcited about the showing of actresses this year, which is weird because I’m willing to admit that collectively it’s been quite a good year. Communally there’s a wealth of performances in comparison to last year when my top 5 (Mulligan, Cornish, Pfeiffer, Ronan, Wright Penn) was easily decided. I don’t know if, perhaps, the ensemble nature of the films this year accounts for an effusive lack of enthusiasm, even though I’m fond of each member of the top 5. And even the Oscar nominees are collectively good, easily one of the better line-ups in recent memories. Ah well, let’s see what I chose.

     

& Annette Bening in Mother & Child (as Karen)

The term banner year seems so splotchy, implicitly suggesting that all previous years hold little worth – but it’s been a banner year for Bening for me. I sort of thought her one-two punch in 2006 (Running With Scissors, Mrs. Harris) was unbeatable but watching her play Karen and Nic almost like extensions of the same person – but then at times completely opposite makes me even more impressed by her talent. It seems like way too much of a disservice to Bening’s talent to lump Nic – or Karen – together with all the strong women she’s played (Julia, Deidre, Carolyn). Their strength doesn’t make them identical, and it’s strange – both women have trouble being emotive, but Annette decides to establish them by decidedly different character tics. Karen develops in uneven bursts goaded by her insecurities whereas Nic’s security becomes her crutch as she finds that it’s not as impenetrable as it seems. Even the manner in which they break is not identical, Karen for all her faux-coldness yearns for the ability to be completely emotive and when she cries it’s with complete surrender. Nic is uncomfortable with that loss of control, and even her tears exist as a sort of reluctant emotion. True, I do prefer her work as Nic (if only because the character is so much richer), but it’s a double helping of brilliance that I think is laudable. (Highlight: “So Blue” and Breakdown with Sofia)

I’ve always thought of Nicole in the same way that I think of Cate Blanchett – actors most discernable because of the emotion they put into their voice, but Becca is significant not because of the line readings but because of all the expressions that she has. She reacts to everything that happens on screen – her eye-rolls, her steely gazes, her silent scoffs – she’s never “off” and Nicole never loses sight of that always reacting, however subtly, to everything occurring around her. It’s difficult to play favourites and hold up someone as her best scene partner – she’s so go$od with them all. The understated tension opposite Aaron, the filial spats with Tammy, the brilliant chemistry with Wiest and her tentativeness opposite Teller is lovely to watch. She gives as much as she gets and though her career is so littered with goodies I can’t decide if it’s my favourite or not, its goodness is undeniable. (Highlight: Bowling Alley Birthday)

Every actor has precepts that work for them, and though Jules is nowhere near as morose as the prototypical Jules character her constant interest in pronounced facial expressions is the ultimate reason why I’m so impressed with her here. I hate judging her against Annette since the performances are ultimately so symbiotic and sometimes even in tandem with the other. They play well off each other, but more than Annette Julianne plays well off actual scenes. Because Nic is so controlled Annette isn’t always given the opportunity to respond immediately (facially) to situations – so Julianne must, and that sort of naked physicality is something she delivers with and because Jules and Nic are so affected by each other these expressions are most pronounced when Nic is at the forefront of the scene. Thus, when she’s actually presented with the opportunity to “lead” a scene – her twitchiness is manifested, it’s not necessarily a twitchiness borne of being discomfited but one of being disaccustomed. (Highlight: “Marriage is hard.”)

The role of Hypatia seems to be the sort of exemplary woman that seems perfect for Rachel Weisz. Weisz plays Hypatia with a consistent disregard for her personal appearance, as beautiful as she is – and there’s that subtle hint that perhaps that plays a role in her power over everyone – she never plays Hypatia as a “beautiful” woman. Moreover, she brings that sort of resonance to the dialogue where you’re moved to think that her every word is something seismic. Amenabar is fortunate that she plays the role so effectively, because it’s her devotion to the character that allows (with the slightest of physical inclinations) us to believe that things like ellipses are capable of being as astonishing as Hypatia believes. (Highlight: sketchy...each time she speaks, perhaps?)

FINALISTS: Halle Berry is tasked with a conventionally baity role of three persons in one in Frankie & Alice but at her best she’s always able to bring the right touch of compassion to her work that’s put to good use here; Patricia Clarkson is luminous in Cairo Time balancing Juliet's vague dissatisfaction with life against the wealth of experiences she experiences on holiday and always – ALWAYS – so entrancing even with the slightest of movements; Kerry Washington is all aglimmer (is that even a word?) in Night Catches Us. I’ve rarely seen her so mature, and it’s the sort of role that while fitting her perfectly isn’t too deliberate in its; Michelle Williams dives into the difficult persona she plays in Blue Valentine – ensuring that the tenets that comprise her character do not become murky as she develops, and moreover ascertaining that even when we don’t understand the “why” we understand the “how”.

     

SEMI-FINALISTS: the way that Kirsten Dunst lights up the screen whenever she appears in All Good Things make me even sadder about her absence from the screen. It’s more than her doing the best work in the film, her constant attention to detail with a character that’s quite vague is admirable; Dakota Fanning has always seemed much too mannered for me to take her seriously, but in The Runaways despite her occasional off-putting tics she’s so resolute in carving Cherry’s inclinations that she manages to give the best performance of her career – thus far; Greta Gerwig’s congenial way in Greenberg might be easy to ignore, which is unfortunate because she has a more difficult task than Stiller. She’s playing this affable woman who’s difficult to understand but not at all mysterious – even if her inclinations seem ridiculous and she does it all with aplomb and that cheery winsome nature to her that’s irresistible; Jennifer Lawrence must carry the entirety of Winter’s Bone, and Granik is lucky enough that she’s able to take that kind of weight on her shoulders , she's good at playing the tough as nails country girl, but she's just as capable of establishing the girlish innocence in Ree, too which is the real treat; there are some times when Carey Mulligan seems a little too literal in Never Let Me Go, though that’s as much the fault of the film itself. When the film is at its weakest in that final act, though, she provides the stability realising how important it is that the audience identifies with Cathy managing to produce a seemingly full character in the wake of what really is just nothingness; I’ll probably always prefer Natalie Portman in small doses, or better yet in specific modes. I’m still wowed by that phone call she makes to her mother Black Swan even if she impresses, but doesn’t wow me in other scenes. Most importantly, though, she’s thoroughly aware of how essential her inflections are to the plot and delivers on that even if I’m not completely sold on it at all times.

                   

In Agora sometime in the 391 AD we meet the Alexandrian scholar Hypatia. She’s the daughter of Theon and by all means and purposes seems to be the leading scholar of her era. She teaches a class full of men. Great men look to her for advice. While Hypatia’s skill persists a raging social war grows between the pagans and the Christians, who are now coming into their own as a new movement. The story is, in many ways, a look at the conflicts of Christianity with the Pagans and then subsequently with the Jews. But it is not a story about Christianity; I’m not even convinced it’s a story about religion. But it is an important story. It mixed history with fiction, but the moments that are most harrowing are those with the least of dramatic licenses.

Amenbar thrilled with The Others in 2001 and though I can’t recall The Sea Inside clearly I know it was good. Agora is based on a true story, though the usual literary licences are taken. Hypatia was a woman before her time teaching many and the film’s characterisation of her is accurate, for the most part. It throws a wrench into history with the introduction of Davus – a slave of Hypatia who becomes swept up in the movement of Christianity. He pines for his mistress as does Orestes, a nobleman of sorts. But Agora is not a love story either – at least not of the romantic nature. The first half of the film reaches its conflict when the pagans and the Christians engage in an all out battle. Hypatia is not necessarily a piteous pagan, but her loyalty lies in their systems of education. She refuses to conform to religion of any sort, instead urging her students to think of each other as brothers. As the pagan temple is raided towards the middle of the film Rachel Weisz perfectly conveys Hypatia devotion to the written word. It’s the only time in the film where we see anything less than valour in our heroine. Yet Hypatia is not a saint. She’s not imbued with many faults, but she is still as real as can be as played by Rachel Weisz. Perhaps she is a bit like Weisz’s Tessa, but that doesn’t point to a lack of diversity from Weisz who excels here giving a performance that I find close to perfection.

Agora is not a film for the fainthearted, but it’s not a film that aims at tearing down Christianity as others have claimed. The dramatic licenses taken by the writers do not include their account of the conflict in Alexandria during the period. In fact, the final execution in the film is where the Amenabar back tracks on the horror of the real world since the victim in reality was actually skinned alive as some history books recount. But I digress; Agora is not a history lesson. It’s not a geography lesson either even though the sincerity with which it searches for truth is captivating. The thing is, I’m uncertain what Agora really can be defined as. But it’s a film that thrills me on every level – from the formidable production design, the lovely costumes, the enchanting music, the lovely shots and the brilliant acting. I’m uncertain as to how Agora will fare as time goes by, it steps on so many toes in achieving its end I suppose that conservatism will win out and it will be shut out from being as critically acclaimed as it should be. It stands now though as an excellent piece that should not be missed. Max Minghella would make his father proud as the torn slave and Oscar Isaac takes his stock role and turns it into something special. I already wonder if anyone else can enthrall as much as Weisz has. There are nine months left in the year, but I have a feeling none will impress me as much as Weisz here…

         

I recently started counting down my favourite (male) performances of the last decade, so on to the females. 2005 was my least favourite year cinematically speaking of the decade, though there were a couple of performances that shone a ray of light on the darkness. Don’t forget spoilers are ahead.

         

The Constant Gardener was a film that I (unlike most) was very fond of. The gardener of the title was Ralph Fiennes playing a character he knows all to well – the introverted English man. Justin Quayle. Tessa begins a tempestuous romance with Justin and travels with him to Africa. Before their journey, though Rachel already establishes Tessa as a formidable woman and as a strong character.

                  

Her first meeting with Fiennes’ Justin is brilliant. Justin, a diplomat, is holding a meeting. He is as a calm as the clichéd Englishman and he is surprised and attracted by Tessa’s inhibition. 

Sir, I've just got one question. I just wondered whose map, um, is Britain using...when it completely ignores the United Nations and decides to invade Iraq? Or do you- do you think...it's more diplomatic to bend to the will of a superpower...and-and politely take part in Vietnam, the sequel?

It’s important that this is how Mereilles let us meet her since it’s a major part of her character. Tessa is one of those women we imagine only exists in the imagined world – she completely believe in the greater good and as she debates with Justin about the demerits of diplomacy it’s fascinating to see Weisz’s eyes sparkle. Moreover, it’s also interesting to note how she is so much softer during the quiet moment in between.  There romance is unorthdox, but not unbelievable. Tessa’s journey grows when the two meet Africa. Tessa is a completely free spirit and even though we know that, it always surprises when Weisz burst forth with some discourteous comment on the social affairs in the country. Not even Justin is completely used to her, even though he is the perfect gentleman, throughout.

The scope of the African nation shown is formidable and Mereilles’ use of camera is important here. Moreover Weisz’s sincere chemistry with the African children is beautiful to watch. In fact a favourite moment of mine regards the relationship between them. After losing her child we see Tessa at her lowest. This is not the vigilant woman we’ve come to know and love, but a broken woman. When Justin comes to see her, she’s holding an African new born in her arms. I love her line readings – This one was born healthy, though. Weren't you, my beautiful, beautiful darling? His name is Baraka. It means blessing.

Still, below all its politics The Constant Gardener is a love story, albeit an atypical one. That’s one of the reason the film never fails to impress me. Justin and Tessa’s relationship is not the classic one of romance. He is unable to emote and she is too caught up in her work, and yet the two share true feelings for each other. The quiet moments when Fiennes and Weisz share the screen are beautiful to watch. I always note that Fiennes is never unwilling to give the floor to his female co-stars and Weisz does excellently opposite him.

Rachel Weisz’s task in The Constant Gardener was not simple. She had to create a woman so lovable, yet so infuriating and the candid script didn’t sugar-coat it. It’s so easy to see Tessa as selfish, as annoying but Rachel manages to create a nuanced and brilliant character. Fiennes grounds the latter half of the film, but we really do miss Tessa when she leaves, and that is all because of the excellent work done by Rachel Weisz. It’s a performance worthy of remembrance.

           
So, were you a fan of Rachel? Or did her Oscar win make you angry?

Well we're getting slowly, but surely. Now for top half of the forty films that I'm anticipating for this year. By this time, these are the films that I'm expecting very much of. So here's the next ten.  I hope you read Part One and Part Two.

            

Ethan Hawke probably takes the crown as the most underrated actor of his generation. He has a lead role in this cop drama which looks as if it could be a sleeper hit, and I’m hoping for that. I don't really know what it's about, which should make it somewhat lower on the list. But, that's me. Richard Gere and the talented Don Cheadle costar and the film is directed by Antoine Fuqua of Training Day fame. Here's to this.

             

I'm worried that this will not be completed for this year: three Weisz films this year does seem to be much. Weisz and Collin Farrell star as two broken people who share a tentative romance. The book is a bit of a thriller. This could be a good low-key drama, if it gets done.

           

Woody Allen. That’s enough to make me watch.The film centres on a family and the drama in their lives which isn't much, but Woody never lets on about his films - plot wise. I sure would have liked if Nicole Kidman was still attached, but the cast still looks strong. Anthony Hopkins, Naomi Watts and Antonio Banderas are actors I like and Josh Brolin is rising in my esteem, so I'm particularly hopeful for this. I like Woody's drama as much as his comedy actually.

I’m still not sure if it’s only this country that doesn’t have this or not. Is this even a 2010 release? Well, it’s Rachel Weisz who is enough of a pull for me, but the entire premise is quite interesting and it looks to be quite a provocative drama and it's directed by Amenabar who was the director of the underrated, but wonderful The Others.I expect this to be a good one.

                   

As The Mad Hatter said it’s Iron f***ing man. Of course it’s not that high on my list, but I’d be lying if I said I wasn’t expecting this to be good. Robert Downey Jr. is a whole lot of fun, Gwyneth Palthrow is fun when she’s having fun, Mickey Rourke is flippantly cool. And then there’s Scarlett: va va voom. It’s wrong that she’s my biggest draw her, but she is. Blame it on the hormones, but Scarlett Johansson in leather. Count me in.

             

To be honest, I was not a big fan of the first Wall Street since Michael Douglas is still a question as far as I’m concerned and Charlie Sheen is just ugh. Still, I’m interested to see what Oliver Stone can do twenty years after the fact and with Susan Sarandon and Carey Mulligan joining on with Shia LeBouef, who I believe has more potential than we can discern from Transformers, I’m excited for this. The plot follows Gekko [Douglas] who is now out of prison and trying to repair relationships with his estranged Daughter [Mulligan].

                   

                 

This could have been higher,  but form here on out it's all a toss up. William Monahan, writer of the almost  perfect The Departed adapts this novel and makes his directorial debut with this piece. It centres on a reclusive actress [Keira Knightley] who befriends  a London criminal played by Collin Farrell. Yes, this is Colin's fourth film in my top 40. Told you, he's going to be having quite a year. I'm very excited for this. Keira Knightley is broadening her horizons, and I like it. She's underrated, same goes for Farrell. I'm unsure about Monohan, I hope his debut is not too gratuitous.               

        

                     

James Cameron wasn’t the only director making an anticipated return to the screen this year. Peter Jackson’s last film the 2005 King Kong, although well regarded was seen as more of a remake than a true “Jacksonite” adaptation so The Lovely Bones was inadvertently seen as his first film since the blockbuster films about middle earth. Like The Lord of the Rings it was an adaptation of a novel and like The Lord of the Rings Jackson wrote it with partnering scribe Philipa Boyd. It centres on a young girl – Susie Salmon, who after being raped and murdered by a neighbour tries to find peace in the “in-between” between heaven and earth as her family simultaneously tries to cope with her death.

                     

Obviously, The Lovely Bones is not your typical drama. I’ve not read the source, but with a premise like that we can see that it’s more than just your typical familial drama, one with a supernatural twinge. And in some ways I suppose that Jackson is the perfect one to helm a project that seems to be so ostensibly incongruous. I liked The Lovely Bones. I should just get that out of the way immediately. Try as I might I could not ignore the dismal reviews. Nathaniel, Rasco, Alex were all less than forthcoming with praise. Jose was more obliging and MGK was a fan as was Kristopher. I didn’t know where I would fall, I was still anticipating this despite the reviews and coming out of it I knew it was not perfect, but I was not disappointed.

                    

Saiorse Ronan, of Atonement fame, plays Susie. With her piercing blue eyes and her clear voice I’m tempted to call Ronan’s performance my favourite child performance of the last decade, and maybe even the one before that. The strength of The Lovely Bones lies completely in her hands and she handles it beautifully. Her performance is so self conscious and it truly is surprising considering how much she’s tasked with. She has to spend the entire film looking fourteen but growing years more and it all needs to be realistic as possible. This wasn’t going to be an easy task, but Ronan is able to deliver an especially profound performance that counteracts any of the films possible inconsistencies.

                  

The acting of the cast is generally good, although none is as good as Ronan. Much has been said of the reportedly underused Susan Sarandon, and as Susie’s Grandmother she is particularly scintillating in her scenes. In a category where insubstantial performances like Holly Hunter, Michelle Williams, Frances McDormand and Kathy Bates have been recognised I’m confused as to why Sarandon hasn’t gotten more notices for her performance. Looking as unsullied as she did a decade ago Sarandon is charming and resonant in her role. Rachel Weisz all but matches her, and although she is relegated to a mere prop as the film winds down her performance [particularly in the first forty minutes] is especially profound. I don’t find Wahlberg as underwhelming as some. Certainly, he’s not as talented as his co-stars, but there is only so much that could be done with such a role. Wahlberg is not ineffective, just unremarkable. Tucci wouldn’t make my shortlist of Supporting Actors but I can’t fault his performance, as unsubtle as it is. In a strange way it works.

In fact, I can’t fault The Lovely Bones for its lack of subtlety. A film that centres on a young girl trapped between heaven and earth needs to be as clear as possible. In fact, I see The Lovely Bones as a bit of a fairy tale. Susan Salmon [like the fish she says] is projecting her thoughts on to the screen. We only find the moustached Stanly Tucci as overbearingly histrionic because we know up front he’s the murderer. A subtle serial killer wouldn’t have caught the attention of Susie’s sister, and would negate the culmination of the film.  The Lovely Bones is the type of film I can see being lauded in the next generation even though being poorly received in this one. It is not a perfect film, but it’s as good as it could have gotten. I don’t think anyone taking this story could have done a more superior job than Jackson. I finished The Lovely Bones having the same feelings I did after seeing Cheri – what is that people are missing? I can’t say why The Lovely Bones hasn’t succeed, it’s not The Lord of the Rings, it’s perhaps not even the masterpiece some have called. But it is a good film. A very good film. Its lovers are few, but I’m one of them. Sorry, Alex.

          

           

We’ve had lists of five, and we’ve had lists of ten. People are looking forward to what’s new in 2010. So, I’ve joined the conversation and am unveiling the films that I’m most looking forward to in this year. There are a couple that could have made the list, seeing that it’s so huge and all. Why not fifty right? But even though The Mad Hatter does have Kick-Ass in his five, I’m not really here or there on that. And you’d think I’d be anticipating Toy Story 3, but at the moment: nothing. I do hope that Hoodwinked 2 does better than its predecessor in terms of audience love, since the original was subtly funny, if flawed. I almost had Green Zone here, I do like Matt Damon and Amy Ryan, but something's telling me no. So, none are on my list. Take a look at the first ten.

          

This will most likely not be completed, but I’m including it just in case. Charlotte Bronte’s novel is one of the better pieces of its time, and even though it’s had a few incarnations on screen I’ve not seen any, and now’s as good a time to do a film version as ever. I always harboured hopes that Joaquin Phoenix and Kate Winslet would star in an Ang Lee directed version of this, but I suppose that’s down the drain – and they are too old. I remember Westick back from when I cared about Gossip Girl, and he does have potential. This could be good. Maybe.

       

Michael Douglas and Susan Sarandon are the draws here, obviously. This hasn’t been released here, and as far as I know it hasn’t been released in the US either.I'm not sure if it veers more into comedy or drama but it concerns the protagonist coming to grips with the crap he's done in his life. Not exactly riveting stuff, but still. It's Douglas. Honestly, I'm not too hot on him but the added presence of Susan Sarandon and Mary Louise Parker does help..

I was not a big fan of the last Nanny McPhee fan but it is Emma Thomspon and it at least warrants a place in the top 40. And with Ralph Fiennes and Maggie Smith, it may be lightweight but it's going to be good. I have a feeling it will be better than the first, which doesn't say much...but still. Maggie Gylenhaal also stars who has been coasting along for some time with me. I'm still looking for her to wow me, this probably will not be it. Still, we'll see.

Well, it's Jude f***ing Law. What do you expect? Repo Men is a science fiction film about a man who buys a heart in the near future who is unable to finish making payments. He thus goes on the run before it's taken. Obviously Jude is the draw here, but I'm getting some Gattaca flashbacks which would be cool because I love that movie. Forrest Whitaker is always cool when he plays the sidekick, which he looks like here, so his involvement doesn't hurt.
                       

Robert Duvall, Bill Murray and particularly Sissy Spaceck are the draws here. It's a film based in the 1930s about a man who threw his own funeral. Interesting enough. I'm not sure if it's more drama or comedy, but with this cast and the somewhat dubious premise my interests are peaked. It's been a while since Sissy wowed us in In the Bedroom. Let's see what she has up her sleeves next.         

The film stars James Franco and Natalie Portman, too young up and comers I'm actually quite keen on. It's a fantasy comedy from medieval times centring on a lazy and arrogant prince who must go on a quest toe save his father's kingdom. The plot sounds less than riveting, but I suppose the dialogue will be snazzy. The presence of Zooey Deschanel doesn't hurt any either. Hopefully, it doesn't disappoint. 

A comedy with Diane Keaton and Rachel McAdams. Joy. I don't know, I'm really hoping that this turns out to be good because Diane deserves a good role. I'm not too fond of Rachel McAdams. The film centres on two feuding TV anchors [Harisson Ford and Keaton] and the aspiring producer who tries to salvage the situation [McAdams]. Patrick Wilson and Jeff Goldblum costar. I'm worried. It could be good, it could be bad...but Harisson Ford seems weird at the moment. Maybe, just maybe, it could be good.

A true story. Rachel Weisz stars as a woman who uncovered a scandal in post-war Bosnia involving The United Nations and America. It's generic, I know, and I hated North Country which sounded vaguely similar. But Rachel Weisz has a charm which cannot be manufactured, so hopefully she'll elevate the material  and perhaps the film may even surprise. The presence of Monica Belucci and the legendary Vanessa Redgrave only makes this that more interesting

And another true story. Julia Roberts stars as a woman who decides to get more out of her life. It sounds oddly schmaltzy, but it's Julia. In fact, it's more than just Julia. Throw in Javier Bardem, Viola Davis, James Franco and Billy Crudup, and you've got a party. I expect to be entertained at least, and who knows maybe it could turn into something really poignant. I have complete faith in Ms. Roberts.

This could go horribly wrong. It stars Keira Knightley, Sam Worthingotn and Eva Mendes. I'm not sure which title they're going with. It is the story of a married couple [Knightley, Worthington] who spend a night apart trying to resist temptation. I read the script which seemed good the first time, but the second time felt a little too heavy handed. I'm not sure, I should give it a third read. It has potential, but Mendes and Worthington to a degree are giving me doubts. We'll see...

We don’t have the four seasons in my part of the world, but the four seasons are common knowledge. Although I generally think of the entire period from September to December as fall: which is of course inaccurate. Still, I can’t wait for that season that I so lovingly refer to as The Movie Glut Season. And of course that’s why I can’t wait – movies of course. All the movies that I really want to see are going to be coming out in the next four months.

# 9 – Where The Wild Things Are
I didn’t know much about this, but it seemed promising. A little research on the original and it does look good. A quirky 3D experience? Why not?

# 8 – The Princess & the Frog
This is so obviously the little child in me coming out. This was the first children’s book I had. I don’t know where the hell it is right now, but moving on. This is the first conventional animated film Disney has done in a loooong time…and it’s about time because I am sick of 3D. Anika Noni Rose, who deserved an Oscar nomination for giving the best performance in Dreamgirls, plays the first African American Disney Princess in a retelling of the story. I cannot wait, and I hope that the music is good. God, I am such a child.

# 7 – Avatar
James Cameron and Sigourney Weaver? I was in like that and I didn’t know crap about this movie. So I finally got some background information on it, and although one of its selling points is that horrific 3D thing everyone’s been going crazy for, I can’t wait for this. So in the battle of Andrew vs 3D… yeah 3D wins. I am so weak.

# 6 – Agora
Rachel Weisz. Yeah! She’s essentially carrying the film, which I don’t think she’s ever done before. So, this is a great opportunity for her. This looks like an action drama and given the teaser information I’ve gotten about it, I cannot wait!

# 5 – Bright Star
I’m sort of hooked on British Period films, and although I know Jane Campion is not going to go exactly conventional I cannot wait. I like literature and I heard that Paul Schneider is good in it. I'm still holding out that Ben Whishaw will be good in this though, although Oscar will undoubtedly overlook him.

# 4 – An Education
Ah, the British. I love them. This is not a typical British Period film but it’s not exactly far off. Mulligan impressed me in her bit role in Pride & Prejudice and Sarsagaard deserves a plum role. I’m still hopeful about Rosamund Pike and I must have been the only person who enjoyed Chocolat and Alfred Molina in it. So…count me in.

# 3 – The Lovely Bones
Aaah. Rachel Weisz. I had a major crush on her in The Mummy and it sort of intensified with The Constant Gardener. Soairse Ronan – hopefully I can believe her as someone other than uber bitch Briony Tallis. Stanley Tucci – finally he’s getting a plum role after years of insignificant crap. And they gave him hair, which is good. And finally Mark Wahlberg, after Max Payne he can only go up. Peter Jackson has done Heavenly Creatures, The Lord of the Rings, King Kong and they have all been good. This looks promising. Oh and don't think I forgot Susan Sarandon. She ruled the Oscars in the 90s and finally she's back in business. I'm just hoping that this performance is worthy of her.

# 2 – Shutter Island
Scorsese is my favourite director and I loved his last feature so I’m all in for this one. Not only does it have Leo and Emily Mortimer which would have been enough it also has Mark Ruffalo. Add that to two great actors – John Malkovich and Patricia Clarkson who need some awards recognition and what do you have? Me waiting patiently. What the hell more do you need? Seeing that the AMPAS don't worship him like they do Eastwood I fear that they'll not embrace this film. I don't really care though. It's going to be great and I'm going to love every second.

# 1 – Nine
I cannot wait. Unlike other recent musicals I’ve been invested in the music of Nine before the movie came so I’m already imagining how it’s going to line. And boy, I cannot wait. Of course, that just means I’ll be more disappointed if it sucks – or if they cut the songs. But I’m optimistic; in fact I’m very confident. And I’m waiting (im)patiently.



What are you looking forward to in the fall?