My Oscar Picks

There are still a few I have to see before I can make a top ten films of 2012 list, but I thought I'd share my picks for the 85th Academy Awards.

1) Best Picture: Argo 

2) Best Director: Ang Lee- Life of Pi 

3) Best Actor: Daniel Day-Lewis- Lincoln 

4) Best Supporting Actor: Philip Seymour Hoffman- The Master 

5) Best Actress: Jessica Chastain- Zero Dark Thirty 

6) Best Supporting Actress: Anne Hathaway- Les Misérables 

7) Best Original Screenplay: Quentin Tarantino- Django Unchained 

8) Best Adapted Screenplay: Tony Kushner- Lincoln 

9) Best Animated Film: ParaNorman 

10) Best Foreign Film: Amour 

11) Best Visual Effects: Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer and Donald R. Elliott- Life of Pi 

12) Best Cinematography: Roger Deakins- Skyfall 

13) Best Costume Design: Paco Delgado- Les Misérables 

14) Best Original Score: Mychael Danna- Life of Pi 

15) Best Original Song: Adele- Skyfall 

16) Best Film Editing: William Goldenberg- Argo 

17) Best Makeup and Hairstyling: Peter Swords King, Rick Findlater and Tami Lane- The Hobbit: An Unexpected Journey 

18) Best Production Design: David Gropman (Production Design); Anna Pinnock (Set Decoration)- Life of Pi 


Other very noteworthy films I've seen this year include Flight, Cloud Atlas and Prometheus. Unfortunately, I have yet to see Beasts of the Southern Wild, but it is certainly on my list. And although 2012 was a great year for movies, there were plenty of stinkers we had to suffer through nonetheless (i.e. Wrath of the Titans, Battleship, Red Dawn, and the deplorable Twilight conclusion Breaking Dawn: Part 2). Thanks for reading, and I look forward to what's playing in 2013. 

Zero Dark Thirty

****
Dir. Kathryn Bigelow

Even though viewers know Bin Ladin is dead going into this movie, Kathryn Bigelow's innate ability as a filmmaker makes for an intense and gritty dramatic thriller. After she and screenwriter Mark Boal blew critics away with The Hurt Locker in 2009, this team returned to make a film depicting the greatest manhunt in American history.

After opening with recordings from 9/11, the film chronicles the process which CIA operatives used to bring down the former Al-Queda leader. Dan (Jason Clarke) and Maya (Jessica Chastain) are agents working together in Pakistan, tasked with the job of interrogating prisoners and compiling as much data as they can in regards to this radical organization. Maya is a top level member of her division, recruited straight out of high school. The early years of her career are devoted entirely to finding a man regarded as one of the most dangerous people alive.

Between the graphic torture scenes and terrorist attacks, it's pretty remarkable how Bigelow is able to immerse audiences into this distorted world which most Americans only know about through what they see on the news. Most war films attempt to strive for a realistic approach, but are nonetheless plagued by Hollywood components. That is not the case here. From the moment the film begins to the closing sequence, viewers are transported to the fear and confusion of the Middle Eastern atmosphere. The cinematic techniques which Bigelow uses to capture this dismal setting is what makes the experience of watching this picture so compelling.

Nevertheless, what separates this film from The Hurt Locker is that there isn't quite as much emphasis on character development. Although the acting is great, the action tends to overshadow the story at points. It's not bad, but it is what keeps the film from being riveting in my opinion.

However, Jessica Chastain gives a remarkable performance. Whether it's her facial expressions during the interrogation sequences, or just her sheer presence on screen, she embodies the internal and external conflicts of her character very effectively. Clarke also does a great job, portraying a more original and believable tough guy. He makes trained killers look like they wanna go cry to their moms, and yet he still possesses the desire for an ordinary lifestyle. Kyle Chandler also has a nice deal of screen time as their boss Joseph Bradley, and is well suited for the role.

Like a lot of films released around this time, this one is up for best picture and several other Oscars. I still think Argo deserves to win, but I thoroughly enjoyed the artistic attributes of this picture. While not as groundbreaking as Bigelow's previous works, it's definitely one to see.

Promised Land

***
Dir. Gus Van Sant

This film has particular significance in our society today. Between the fiscal cliff and various economic troubles over the last decade, much of it has to do with the rise of major corporations clashing with older ways of life. Contrasting the lives of small town farmers with those of big city people can have a powerful effect within this medium.

Promised Land tells the story of Steve Butler (Matt Damon), a salesman for a natural gas company. When he and his partner Sue Thomason (Frances McDormand) are sent to a small town so the corporation can tap into available resources, both think it'll be an easy job. Yet because the area has been hit hard in recent years by the economy, people like schoolteacher Frank Yates (Hal Holbrook) aren't as receptive to the innovative businessmen trying to crush their way of life. As tensions rise, Butler and Thomason are then met by Environmentalist Dustin Noble (John Krasinski), there to combat the company's actions. As the mission turns into a political battle, Butler's morals and mentalities are questioned. By the end, he undergoes a spiritual journey which transforms his character.

Director Gus Van Sant (Good Will Hunting) presents a film which is very relevant to Americans everywhere. Whether you're a suburban or farmer in a small town, the message is applicable to a wide range of viewers. Sant's direction works really well with Damon and Krasinski's script. Although the pacing is pretty slow, there's a really nice twist in the plot at the end which makes up for it. The story flows very well, and effectively enhances the character development. Butler's internal conflicts reflect the various themes presented, and I really like how he changes over the course of the picture.

As far as the acting goes, you can see from the cast that there's definitive quality. While not Damon's best, he is nonetheless well suited for this role and has very solid chemistry with McDormand and Krasinski. This is a pretty light-hearted, more humorous drama, and the cast executes Sant's vision very effectively.

Between the business ethics and character intrigue here, this is certainly worth seeing. While nothing remarkable or as good as Sant's previous works, it is a very good film nonetheless.

Les Misérables

***
Dir. Tom Hooper

I went into this film thinking it would be one of my five star reviews, an instant classic that would leave a legacy for generations to come. In 2010, Tom Hooper blew me away with The King's Speech, and I expected no less from this film. However, while this did do justice to the broadway musical and to Victor Hugo's novel for the most part, it was not the epic masterpiece I anticipated.

For those of you unfamiliar with the story, it takes place in the wake of the French Revolution, and is centered around the life of a man named Jean Valjean (Hugh Jackman). After spending 19 years in prison for stealing a loaf of bread, he undergoes a great change when he is shown mercy by a Bishop he meets. As the years go by and he becomes a respected member of society, he meets a helpless woman named Fantine (Anne Hathaway) who desperately tries to care for her daughter Cosette. As he takes the girl in, all the while pursued by the tyrannical Inspector Javert (Russell Crowe), his life plays a pivotal role in a number of other characters. The plot is epic, and I'm not gonna waste time summarizing every aspect of it.

Let me go ahead and say what kept me from giving this film five stars. It's no doubt the music and acting are great, but I expected more from Hooper from a cinematic standpoint. Nearly every shot is a close-up, to the point where it is tedious to watch. While I understand the desire to emphasize the facial expressions of the actors on screen, I also want to see more of the elaborate settings which the production crew has so artfully constructed. This film is just under 3 hours, and there's virtually no variety with the camera angles.

Furthermore, the pacing was very rushed. Most movies today have an average shot length of 1-1.5 seconds, if that. I expected something different from a film like this. There are several really spectacular images, especially at the beginning and end, that I wanted to see more of.

The best aspect was Hooper's choice to use live music rather than pre-recorded. Anne Hathaway's performance of "I Dreamed a Dream" was the most breathtaking scene for me. The way she embodied the character was truly remarkable. Next to her, the best acting was done by Jackman and Eddie Redmayne as Marius. Crowe gives a decent performance, but nowhere near as good as his work in Gladiator and A Beautiful Mind.

The screenplay combined elements from the Broadway Musical script and the novel, and was written beautifully. All 49 songs included, it was definitely one of the highlights of the film. The disappointing aspect was in how it was presented.

While Hooper's version of this classic tale was well done and satisfactory, I wasn't blown away as I thought I'd be. I went in thinking it would be as spectacular as Scorsese's Hugo last year, and found myself not half as moved by the time the credits rolled.

The Hobbit: An Unexpected Journey

****
Dir. Peter Jackson
This is a film over 70 years in the making, ever since J.R.R. Tolkien's beloved novel captured the hearts of readers across the globe. Marking the return of LOTR writer/director Peter Jackson, this first installment in the prequel trilogy is a brilliantly composed high fantasy film, bringing viewers back to the emotions and wonder experienced 12 years ago.

Set 60 years before The Lord of the Rings, we open in the land of the Shire, where the overtly conservative hobbit Bilbo Baggins (Martin Freeman) dwells, wishing nothing more than to remain there and do nothing out of the ordinary. Yet the character's life turns upside down upon a visit from the old wizard Gandalf (Ian McKellen), who appoints the unlikely hero for the most daring quest of his life. Joining a band of dwarves under the leadership of the great warrior Thorin Oakenshield (Richard Armitage), this small company sets out to reclaim their homeland Erebor from the mighty dragon Smaug.

With trolls, goblins, orcs, and the shadowy Necromancer (Benedict Cumberbatch) standing in their way, these adventurers must cast all fear aside as they set out on this journey.

Although I had seen some interviews and read a few articles discussing Jackson's plans for expanding the story into a full trilogy, using Tolkien's appendixes as well as LOTR material which they hadn't yet worked with, I was nevertheless hesitant about how they would accomplish this. However, after having seen this film I am very pleased at how Jackson and his co-writers have structured the plot. In this installment, heavy emphasis is put on the White Council: Gandalf, Galadriel (Cate Blanchett), Elrond (Hugo Weaving), and Saruman (Christopher Lee). This subplot is used very effectively, as it foreshadows the return of Sauron and the ultimate fight for Middle-Earth.

As with the first trilogy, this is a visual spectacle. From the elaborate images of the various settings to the magnificent make-up work done on each character, Jackson's innate ability in this area of storytelling is impossible to deny. While the CGI was a bit overused at points, there are few filmmakers who know how to effectively use it.

I was particularly intrigued by the amount of detail dedicated to each dwarf. Unlike LOTR, the various creatures of Middle-Earth are not represented in this company. In order for viewers to be able to distinguish between the dozen dwarves on screen, the producers had to make each costume and make-up component original. This was done beautifully, and there is great depth devoted to the composition of each character and setting.

Needless to say, the tremendous cast added to the film's success. While many of the actors from LOTR returned, the new additions were equally effective in bringing this classic tale to life. Freeman really complimented Ian Holmes' performance, while bringing something fresh to the character.

Furthermore, it was a delight to here the beautifully composed soundtrack by Howard Shore once more. His gaelic theme reflects Jackson's artistic vision just as it did a decade ago.

All in all, this was certainly worth the wait. Fans everywhere flocked to the midnight showing, and I have no doubt were as pleased by the film as I was.

Skyfall

*****
Dir. Sam Mendes

The James Bond franchise has had its fair share of ups and downs over the years, but Sam Mendes' Skyfall is certainly among the best, worthy of comparison to the Sean Connery classics. After the failure of Quantum of Solace, this 23rd installment in the series is a fresh and compelling take on the character for a new generation of fans.

After faking his own death and taking some time off, 007 (Daniel Craig) is called back into action when a band of cyber-terrorists threaten the stability of the MI6 agency. M (Judi Dench) is particularly plagued by these events, as she knows these madmen must be dealt with prior to her retirement. Soon to take her place is Agent Gareth Mallory (Ralph Fiennes), a worthy successor to the legendary director.

The villain is Silva (Javier Bardem), a mastermind crime lord and ex-MI6 agent, bent on destroying the organization and killing M. His motivations are not random, but personal as he seeks vengeance on M for having nearly been responsible for his death years earlier. With the help of his partner Eve (Naomi Harris) and tech assistant Q (Ben Wishaw), Bond must stop at nothing to bring this terrorist to justice.

Rather than follow the standard formula for a Bond film, Mendes (Jarhead, Road to Perdition) rejects these conventional elements so as to produce a genuinely intriguing thriller, giving these iconic characters much more depth than their predecessors have allowed. The script was left in the hands of some of the best writers in the business: John Logan (The Aviator, Hugo), Neal Purvis (Casino Royale), and Robert Wade (Die Another Day). With the story containing a great amount of emotional appeal, the dialogue really delved into the internal conflicts of these characters. While there were plenty of explosive action sequences and firefights, this was nonetheless one of the more plot-driven Bond movies.

After his legendary performance in No Country for Old Men, Javier Bardem was perfect for the role of the antagonist here as well. That innate ability he has to strike fear into viewers was well utilized, making the scenes between Silva and Bond all the more intense. His sheer presence is something rarely seen in action movies today. Furthermore, it's no question that Craig is one of the best 007 actors. This being his third time playing the iconic spy, it certainly won't be his last. And because the script was so good, it finally gave him and Dench the opportunity to show younger audiences how great they can act. While Ben Wishaw was slightly annoying, the cast was nevertheless very impressive.

Beyond the story and superb acting, the action scenes also demonstrated a nice deal of originality. Having been influenced by classics such as Apocalypse Now, Mendes uses tactics from previous filmmakers to engage his viewers. This is a fast-paced and gritty installment in the series which will keep you on the edge of your seat up until the very end.

I was never a big Bond fan in the first place, especially because the first ones I saw were the unwatchable Pierce Brosnan disasters. Yet whether you are a hard-core fan or have never seen any of them, go see this movie. Just as Christopher Nolan reinvented Batman, Sam Mendes has done the same with 007.

Lincoln

*****
Dir. Steven Spielberg
Steven Spielberg's latest film is both an excellent portrayal of Abraham Lincoln as a genuinely down-to-Earth historical figure, as well as a remarkable political drama. Based on Doris Kearns Goodwin's novel Team of Rivals, with the screenplay by Tony Kushner, this picture is yet another edition to Spielberg's long list of masterpieces.

Daniel Day-Lewis stars as Lincoln, with the film focusing on his last days as President and the extensive debate regarding the 13th Amendment. With his primary supporters being Secretary of State William Seward (David Straithairn) and Representative Thaddeus Stevens (Tommy Lee Jones), these abolitionists will stop at nothing to get the bill passed. Tim Blake Nelson and John Hawkes play their chief negotiators, and Jared Harris also has a fair amount of screen time as Ulysses S. Grant. Then there's none other than Sally Field as Mary Todd Lincoln, and Joseph Gordon-Levitt as their son Robert to top off the blockbuster cast.

It's rare that a film like this delves into the politics of the story so extensively and effectively. Spielberg uses the atmosphere of bickering Representatives and Senators to parallel the anguish of the Civil War which rages on as they mindlessly argue. Over the span of two and a half hours, the setting is primarily contained within the White House and the courtroom. With Kushner's script demonstrating such rich dialogue, the manner in which it plays out provides the basis for the film's significance.

For once, Lincoln isn't made out to be some kind of chosen one figure destined to bring justice to a plagued society, but as a man of dignity and humility who was right for the job. Day-Lewis' portrayal of him is believable to say the least, as he willfully presents both the good attributes and flaws of the character. He masters both Lincoln's intentions and motivations, while also exemplifying his various mannerisms and somewhat subtle characteristics. He poises himself slightly hunchbacked, uses parables to get his ideas across, and has that soft voice which makes him so distinguishable. There's no doubt he'll  be in the running for an Oscar.

Needless to say, the supporting roles were equally well casted. Jones and Straithairn embrace the distorted aspects of the time period to display the conflicted spirits of their characters. I also loved how Gordon-Levitt utilized the tensions between Robert and his father in his performance. The young actor is certainly making a name for himself, and this role was very well suited for him. Field's portrayal of Mary also really drove the story, using her part in all this to reflect the manifestation of women's role during this time.

While the pacing is rather slow, this film is nonetheless a stirring portrait of a man who many Americans think they know. If Spielberg's goal was to bring history to life like never before, he certainly accomplished that objective.