On Oscar: Best Picture

I'm praying the Writer's Strike ends in time for Oscar night. The debacle that was the "Golden Globes" shouldn't happen to the Oscars. However, I will accept the cancelation of the show if the writer's don't get a deal that treats them right. I support the writer's all the way. Damn the man (the man being the AMPTP). But enough about that. Now my thoughts on the best picture nominees. (Spoilers to follow)

Atonement
I bucked my usual protocol and read the book before seeing this film. If you haven't seen or read it, just know that there is a very steamy sex scene (see picture) and reading it on the subway, surrounded by strangers, made for an awkward ride home—he, he, if only they knew what I was reading. Anyway, the film. I'm glad I read the book first, but as adaptations go, this one included all the parts I wanted to see and enlightened me on parts of the book I missed. I was very impressed with the young actress who played Briony. She was perfect and I was glad to hear she will also be appearing in Peter Jackson's (!!!) adaptation of The Lovely Bones. So Atonement, overall it was very well made. Much as been made of the over 5 minute tracking shot and I'll admit it was solid. But we've seen long tracking shots used before, and used to better effect. The film felt balanced in following each story line, whereas the book felt like to dwelled on the war too much, so I was happy with that. Kiera Knightly and James McAvoy were both well cast, especially McAvoy. And the aforementioned sex scene surprised me. I can't recall another sex scene of that kind not employing some kind of music. The lack of music was a little jarring, but in a good way. Romance, sweeping score (that used a typewriter!!), and a tragic ending? Sold.

Juno
Otherwise known as this year's Little Miss Sunshine, which makes me predisposed to settle into the backlash against it. Even though I actually really enjoyed it. Note: I said I enjoyed it. I didn't say it was funny. As has been noted in my Dan's blog, I too was disappointed in what was promised and then delivered with Juno in regards to comedy. It was sold to me as a female response to Knocked Up and I believed in all the hilarity that sell line implies. I was wrong. It was humorous in a chuckle kind of way, but there were no great belly laughs to be had. Tears? Yes. Who wouldn't well up when Michael Cera gives you a well-timed spoon after you give birth, and then give up, his child? Nevertheless, does Juno deserve to be in this category? No. In my collection next to Superbad or This Is Spinal Tap? No. In my collection next to Love Actually and When Harry Met Sally...? Um... yes.

Michael Clayton
The only one of our nominees that I saw after the nominees were announced, and thus Michael Clayton was doomed to disappoint. Disappoint may be to strong a word. Doomed to be deemed as no big deal. I enjoy George Clooney in a suit as much as the next guy and Michael Clayton gives us plenty of that along with plenty of intrigue, scheming and corporate greed. Tom Wilkinson's nomination is well deserved, he fully creeped me out. As much as I'd like to see George win so I can hear his acceptance speech (if the show goes on), I believe he has been outclassed this year by better actors, in far better films. Better luck next time Georgie.

No Country For Old Men
Ah, the Cohen Brothers. You've done it this time. I've never been as struck by the power of silence like I was here. Javier Bardem embodies that power by barely speaking throughout the entire film. But when he does...oh my! A voice stuck somewhere between a croak and a growl. The film's silence is matched only by its bleakness, both in landscape and in relative outlook. Complete unadulterated evil gets me every time. Tommy Lee, the only beacon of good, is a broken shell of a man who can't understand the madness that surrounds him. The editing of the three stories is impeccably sharp and (sigh), I could go on and on; but I won't. I'll leave that to the Academy.

There Will Be Blood
There wasn't really that much blood, which was a pleasant surprise. Another surprise, the more I think about this film, the better it gets in my head. I'm still determined to see it again before Oscar is passed out, but the feelings it left with me makes it my favorite for a Best Picture win. But WHY? That is what I've yet to put my finger on, and others around my can relate. Could be the fluidity of the editing. Could be the brilliance of its unconventional-sounding score. Most likely it has a lot to do with Daniel Day Lewis. The scene in the church when he admits he has abandoned his son gives me chills just writing about it. The agony in his cry and on his face, mixed with his contempt for his confessor deserves the Oscar he most definitely will get. Maybe it has to do with the fact that it seems a truly American tale, in the way The Godfather and, begrudgingly, Citizen Kane do. Whatever it is, I'm keeping my fingers crossed that Hollywood will be toasting milkshakes to Day-Lewis and crew with an Oscar. If not, there should definitely be blood somewhere.