The “G” Word

There’s a tiny little movie that was released earlier this week that I think you guys should take the time to see, it’s called “The Avengers”. What? It made over $200 million domestically in its opening weekend and been praised both amongst the critics and fan boys alike? Well, I’m a little late to the party aren’t I? Originally planning on writing a review for Joss Whedon’s “The Avengers” I realized there wasn’t much that I could have said that hasn’t already been. It’s good, pretty damn good in fact; it combines the Marvel superheroes with such grace and realism that it’s not just “hey, lets get all these guys in the same movie”, every character has a reason to be there. For future reference, this is what a summer blockbuster should be like. With all this many people are declaring it the greatest superhero movie made to date. This is where I take issue. Greatest? What makes it so easy to declare as better than any of its predecessors? More importantly, what is people’s obsession with declaring the greatest when it comes to film?

“The Avengers” is an excellent addition to the superhero genre, a tip of the hat to Marvel Studios for being able to create all of these stories within the same universe so that they can combine like this. That alone is a feat that makes it different than other superhero films. However, isn’t it entirely possible that this is just a heat of the moment issue? In July “The Dark Knight Rises” releases and it will have it’s own reasons unquestionably as to why it should be considered the greatest superhero movie of all time. “The Amazing Spider-Man” probably would like to stake it’s own claim as well.

But it isn’t just the heat around “The Avengers” that have brought about mentions of the infamous g-word. A hot topic among many online critics, including one Roger Ebert, is the greatest films of all time. Right now it feels like some sort of pissing contest between people: “Those are what you consider to be the greatest films ever made, ha, I’ll show you what a real greatest list looks like!”

The worst part of all of this is that we will never be able to determine what the greatest film is; it’s just not possible. This isn’t sports; Wayne Gretzky is considered the greatest because no one before or since has been able to match his stats, Barry Bonds is considered the home-run king (I know, I know, steroids, but just trying to make a point) because he has hit more than any other baseball player in history. These are definitive, set in stone, facts about these players that put them in a higher pantheon than anyone else. That is not the point with movies.

The great things about movies, and all art for that matter, is that every single film made could potentially be the greatest film to someone because it simply appeals to their tastes, their personality, that mysterious instinct in our gut that tells us that we like this more than anything else. It doesn’t matter how much money it made, how many awards it has won, or how innovative the film is, somebody out there may be willing to fight for tooth and nail on why it is their favorite film.

That’s the point. Film is art, and you debate art, it’s merits, it’s faults. You debate it amongst friends, family, in a classroom, and moments after the credits roll. “The Avengers” may be the greatest superhero movie ever to some people, it may be the greatest movie ever to some others, and good on them for thinking that. But the discussion is never ending.

Maybe an element of the sports world can be taken and put to use here. Many fans of baseball believe that Bonds’ record should be marked with an asterisk to mark that there is a difference between what he did and the likes of Ruth and Aaron did. How about any time critics use the word greatest to describe a film there is an asterisk by it to denote “in my opinion”.


Does Jean Dujardin’s Poster Scandal Make Him a Lock for Best Actor?

This isn’t the viewpoint that most articles are given this most recent news story featuring “The Artist” star, Jean Dujardin. The reaction to a controversial poster for his next French film “Les Infideles” has many pundits and journalists worried that the Frenchman may now lose his chance at having his named called up onto the, probably soon to be renamed, Kodak Theatre stage. But I disagree. I think this is a classic example of the old adage, “any press is good press”.

If we remember just back to last year’s Oscar race, around this time there was another controversy that was being placed on the front-runner “The King’s Speech”. News had surfaced that the set that had been used for the speech therapy sessions between Colin Firth’s character and Geoffrey Rush’s had been used before by another movie, one of the pornographic nature. Some thought this was a blow to the film, that it would somehow be seen as a slight that the feel-good movie of 2010 was somehow related to a porno. But what happened when Oscar night came, what most expected. “The King’s Speech” walked away with four awards, including Best Director and Best Picture, just as they were expected to prior to the controversy.

Now back to this year. Jean Dujardin pulled a surprise win a couple of weekends ago by taking the SAG award for Best Actor over presumed front-runner George Clooney. That catapulted him very much into the conversation, as the actors are the larges branch of the Academy, as well as the fact that “The Artist” is the clear favorite among the industry right now and poised to be a monster come the ceremony. On top of that he has proven extremely charming in his two major wins this year, back at the Golden Globes and at SAG, with his acceptance speeches, and even back stage talking with the press. Just check out this video after he wins his SAG:

And now we have this new story where suggestive positioning of a woman’s legs threatens to derail the momentum that he has been building up. But as I said, I’m in the opposite camp. Why? Because I’m writing this article about it as are hundreds of other journalists and Oscar pundits. It popped up on Deadline and in the Hollywood Reporter, two of the industry’s biggest sources. Because it keeps Jean Dujardin fresh and in the minds of the public and voters rather than let us forget about him until he walks down the red carpet. Because any press is good press and a little controversy can shake things up just as much positively as it can negatively.

Has there been a major story on George Clooney since the announcement of the nominations? No. Clooney has been silent, which isn’t a bad thing; George has never been one to stir up too much controversy. But since losing at SAG the actor at the forefront of everyone’s minds has been Dujardin. From the upset win to this new story, he has been the main headline out of all the nominees, and Clooney has almost fallen into the shadows, hoping his fantastic performance will speak for itself, which it still very much could, but it could definitely use a boost to challenge the Dujardin train that is starting to roll. Even fellow nominee Brad Pitt, who didn’t win a single pre-cursor award, is starting to gain momentum over Clooney with interviews on talk shows like “The Daily Show” and “The Today Show”.

What we also have to consider is that the controversy isn’t something involving the actual film “The Artist”. The poster is not a For Your Consideration” for Dujardin, it is for his next film, a French comedy about the infidelities or men. Considering the subject matter and the fact that it is a French film, who I think we all have to agree are a little more lenient in their censorship then mainstream American cinema, the poster isn’t really all that surprising. Like “The King’s Speech”, the controversy wasn’t directly related to the film, it was a different movie that just happened to use the same space. This doesn’t have to ruin “The Artist” for anyone, it is still a fantastically charming movie that people love, and it doesn’t lessen Dujardin’s performance in it.

One final thing that we have to consider in this grand chain of events is who might actually be pulling the strings on all of this. And it would be none other than the master of Oscar spin himself, Harvey Weinstein. Weinstein’s ability to make a film an Oscar favorite has been legendary since “Shakespeare in Love” upset “Saving Private Ryan” in 1999. And should it come as any surprise that “The King’s Speech” was also a Weinstein film last year. I’m not saying that Harvey Weinstein is the reason that these images of the poster made it onto the Internet; it is extremely possible that they surfaced on their own. But I think not considering that the level of coverage this story is getting for a film that will not even be released in the US could be a play by The Weinstein Company to keep their strongest horse in the race in all categories would be ignorant of people who are aware of the idea that, once again, any press is good press.

As for me, I’ve been sticking with Clooney this whole time, but always saying that something had to happen for the likes of Dujardin or Pitt to dethrone him. Well that something has happened in my opinion, and unless Clooney makes a late charge, I’m changing my pick to Dujardin to walk off victorious in three weeks time.

Oscar Predictions 2.0

We now know who is up for each and every Oscar this year so it seems time to make another set of predictions as we stand right now. There are still times for the Director’s and Actor’s Guilds to come in and shake some things up, but we’re at a much more clear point than when I made my way too early predictions back in December. So here’s my updated picks:

Best Visual Effects: Rise of the Planet of the Apes

This one is secure, the performance capture technology is without a doubt the best example of visual effects in film this year. No contest.

Best Sound Mixing: Transformers: Dark of the Moon

I’m sticking with the idea that action films have an edge in this field, although War Horse could be a threat here since it is set during World War I.

Best Sound Editing: Drive

Drive got snubbed with only one nomination, so a lot of this is bias that it gets recognized, but it’s not without merit as the sound in this film is excellent, it’s an action film to after all.

Best Make-Up: The Iron Lady

The Academy loves when characters age dramatically when it comes to make-up, best indication is La Vi En Rose winning her a few years back.

Best Costume Design: Hugo

Best Art Direction: Hugo

Sticking with Hugo here, it got the most nominations so it clearly has a lot of support in the Academy, and it is without doubt one of the best examples of these crafts this year.

Best Original Song: “Man or Muppet” – The Muppets

I’ve already made my anger with this category clear, The Muppets better take this one.

Best Original Score: The Artist

And so The Artist’s dominance begins, it’s been the clear front runner for some time now, and no other film has really done anything to change that. Even despite Kim Novak’s objections, the score has been a consistent receiver of awards.

Best Film Editing: The Artist

There isn’t another film this year whose editing is so spectacular that I can see it knocking this category of The Artist’s final tally.

Best Cinematography: The Tree of Life

This should be the easiest category to call this year, Tree of Life is stunning visual after stunning visual. It would be the biggest miscue of the night if Emmanuel Lubezki.

Best Foreign Language Film: A Separation (Iran)

It got a rare second nomination for a foreign film in Best Original Screenplay, so it seems that the voters know this not just the best foreign film but one of the great films of the year throughout the world.

Best Animated Film: Rango

With Adventures of Tin Tin not making the cut the path clears for Rango.

Best Adapted Screenplay: The Descendants

The Descendants has been the top dog in this category for all of the major awards so far, got to stick with it.

Best Original Screenplay: The Artist

Thought Midnight in Paris may be able to get some love, but The Artist I think will end up being just to strong for it not to come out on top.

Best Supporting Actress: Octavia Spencer – The Help

She’s been the frontrunner all along and hasn’t showed any weakness thus far so expect to see her take the stage at the Kodak come February.

Best Supporting Actor: Christopher Plummer – Beginners

Everyone else is sadly just an also ran.

Best Actress: Meryl Streep – The Iron Lady

This one is still a toss-up between Streep and Davis, with Michelle Williams lurking in the background, but in my opinion with an outside shot at best. SAG will give us the final inkling, but I’m going with Streep right now.

Best Actor: George Clooney – The Descendants

Clooney has been the man in this category and I expect that trend to continue, everybody loves him and this is considered his definitive performance as an actor to date.

Best Director: Michel Hazanavicius – The Artist

The man behind the lens of this years front-runner will ride the coattails of it to the podium. I’m not saying he isn’t entirely deserving, because he is without a doubt, pulling off an incredibly difficult task with a remarkable film. However, Scorsese lurks in the background as the threat to surprise like he did at the Golden Globes.

Best Picture: The Artist

If you didn’t think I was going with the Artist at this point I don’t know what you were reading. I think the fact that there were nine nominees in the Best Picture category show that there isn’t a lot of films that have absolute support in the industry, but this The Artist has been the consistent film all year long, it’s gonna win.

Who are your picks now that we now who’s competing. Let me know in the comments below.

Oscars Neglected Category

There are a lot of things from this mornings announcement of nominations for the Academy Awards that has me surprised, Albert Brooks, Michael Fassbender, Tilda Swinton, and even the inclusion of Extremely Loud and Incredibly Close in Best Picture after everyone thought it was dead in the water. But there is one thing that just has me irate, the Best Original Song Category. The Academy decided to nominate two, TWO, songs; “Muppet or Man” from The Muppets, and “Real in Rio” from Rio. What happened to songs like “Lay Your Head Down” from Albert Nobbs, “In Living Color” from The Help, “Star Spangled Man” from Captain America; all of these songs had been strong contenders before this morning’s announcement. And how does The Muppets not get another one of their songs in for the category to at least round out with three nominees!

But this is just a trend that the Oscars have no idea how to handle the Best Original Song category. This has been absolutely clear in the last few years. The mix of music and song is such an important part of film that I’ve always had a stronger appreciation for the category than the Academy appears to. The rules for what makes a song eligible or not by the Academy is ridiculous and prevented songs like Bruce Springsteen’s “The Wrestler” back in 2008, without doubt the best song in a film that year, but just because it played over black it was not eligible. The song that ended up wining in 2008, “Jai Ho” from Slumdog Millionaire, did play over images, but it was a pointless dance number during the credits of the film, that honestly does not have nearly a strong as an emotional tie with the plot of the movie than “The Wrestler”.

I’m not saying the nominations are always horrible, like this year, 2011 was a year where I had no complaints with the nominees. But the Academy has also slighted the importance of the Original Song category in many cases in the past few years by not allowing the songs to perform in their entirety. The justification is that they want to shorten the telecast, but you’re telling me there isn’t anywhere else in this bloated show that you can cut down? How about the useless montages you place throughout the show that honor the history of cinema? Guess what Academy, the Oscars are for honoring the films of that year, and the rest of the year you are responsible for honoring the past films that you have recognized.

This may be a moment of anger response, but I think the Oscar’s should stop nominating this category if things are to stay the same way. There clearly is something going on with the Academy and their understanding of the true best songs composed for films in a single year. There are only a couple of reasons that I can understand that only two songs got nominated this year, even though admittedly it has not been the strongest year for the category, but I truly see this as just another attempt to shorten the broadcast. Only two nominees means you only have to take two minutes out of the show for where these songs can to perform their brief little snippets of the original song.

Golden Globe Predicitons

Sunday is the official start of the Hollywood award season with the airing of the Golden Globes. While it is the second most publicized award show of the year, I think people give it a little too much credit when it comes to the Oscars. The Globes are selected by the Hollywood Foreign Press Association, none of which are part of the Academy. In fact, out of the last 6 winners of Best Dramatic Picture at the Globes (the Comedy/Musical category has gone even longer without a winner at the Oscars), only one has gone on to win the Oscar for Best Picture, “Slumdod Millionaire”. And yet we all still tune in, and enjoy to see how many we can predict. Well here’s what I got:

Best Original Song: “The Living Proof” – The Help

No Muppet songs were nominated for a Globe, so one (or three) of the favorites are absent. So I’m going to go with Mary J. Blige’s song “The Living Proof”. It will be one of many times I think the HFPA will choose to award “The Help”.

Best Original Score: The Artist

Despite Kim Novak’s opinions “The Artist”’ has had it’s score recognized quite a lot so far in the awards season making it a likely selection by the Globes.

Best Foreign Language Film: A Separation

It’s so tempting to pick the upset here and go for Angelina Jolie’s “In the Land of Blood and Honey” simply because she someone people would actually know, but how can the praise of “A Separation” not be recognized with the award.

Best Animated Film: Rango

This has been pretty much the consensus pick of the year for animated films, nothing else has really come close to knocking it off its pedestal.

Best Screenplay: The Descendants

This is a tough one to call. “The Descendants” was an early critics favorite, but hasn’t been making any real waves to speak of. Meanwhile, “Moneyball” just won the Critic’s Choice award over “The Descendants” on Thursday. I still am going to go with ‘The Descendants” here, I think Alexander Payne has more weight with the HFPA and will eek it out here, but I’m not overly confident in the pick.

Best Supporting Actress: Octavia Spencer

Not to take anything away from Spencer who is fantastic, but I thought Jessica Chastain’s performance in “The Help” was the deepest in the film outside of Viola Davis. However, it’s hard not to love Spencer’s portrayal of Minnie and no one really can complain if/when Spencer gets called up on Sunday night.

Best Supporting Actor: Christopher Plummer

The legendary actor will continue his dominance on his way to an Oscar nom, and probable win if all things remain the same.

Best Actress – Comedy/Musical: Kristen Wiig

The heavyweights are in the drama category with Streep and Davis, and while Michelle Williams is probably the favorite, and Charlize Theron a well deserved potential winner as well, however, I think “Bridesmaids” will get some recognition in the form of Wiig for her great performance. This is my upset pick of the night.

Best Actor – Comedy/Musical: Jean Dujardin

The second gear in the cog for the Artist being able to pull it off. If Dujardin wasn’t such a joy to watch, silent or not, the film would not have been able to be the success that it is. And he deserves at least one trophy for that.

Best Actress – Drama: Viola Davis

I think the time has come for Viola Davis’ campaign to really take off, whether this will carry over to the voters of the industry will be more clear when he see what happens with SAG in a couple of weeks, but “The Help” is the film more people like, and when it’s a dead heap between her and Streep, go with the better film pulling it out.

Best Actor – Drama: George Clooney

Like with adapted screenplay, I think it’s coming down to Clooney and Pitt’s performance in “Moneyball”. And again I think the Globes will go with Clooney and ‘The Descendants”.

Best Director: Michel Hazanavicius

The steam roller that is “The Artist” will continue rolling as I would like everyone to remember that the F in HFPA stands for Foreign. Michel Hazanavicius, if the name didn’t give it away, is from France. But even without that little detail he was able to pull off one of the feats of the year by directing a silent film that was able to engage and please critics, and that is who is voting on it.

Best Picture – Comedy/Musical: The Artist

Compared to the last few years this has got to be the strongest group of nominees: “The Artist”, “Midnight in Paris”, “50/50”, “Bridesmaids”, then there’s “My Week with Marilyn”, oh well. But I don’t think any of these have what it takes to beat “The Artist” on this night, maybe down the line (I’m looking at you “Midnight”), but not Sunday.

Best Picture – Drama: The Descendants

I have not been confident with one pick from “The Descendants” and I’m still not on this one, but I’d feel even less confident in picking any of the other nominees right now, so by default it’s getting my bet simply on the fact I’d probably go as high to say I’m 70% sure it could win over everything else.

“Way too Early” Oscar Predictions

I have been challenged by my friend Andrew Kaberline to “Way too Early” Oscar predictions. While it’s not that early in the awards season for the pros, for us average Joes we’re still waiting on a couple more movies to be released before we’ve seen all the players. Anyway, here’s my crack at the winners, we’ll see if things change as we get closer to February.

Best Visual Effects: Rise of the Planet of the Apes  

Hard to make an argument against this one as the work of WETA in the area of performance capture has been the main talk on this film since day one.

Best Sound Mixing: Transformers: Dark   of the Moon

Best Sound Editing: Transformers: Dark of the Moon

The sound categories are always a chance for the summer blockbusters to get some love, and with this film being about an hour of a massive battle sequence, it gets my early vote to take them both

Best Make-Up: The Iron Lady 

The talk of this year in make-up has been making today’s actors look, in the case of “The Iron Lady” and “J. Edgar”, and age like the historical figures they portray. J. Edgar has been pretty thoroughly bashed for Dicaprio’s and Hammer’s make-up, and Meryl Streep looks strikingly like Margaret Thatcher, so give them the statue.

Best Costume Design: Hugo

Best Art Direction: Hugo

Martin Scorsese does a period piece. Right there you know it is going to be extremely well done, and his and his team’s recreation of 1920s Paris, as well as a fantastical world inside the walls of a Paris train station, and the great costumes, the film is an early favorite in these technical categories.

Best Original Song: “Star Spangled Man” – Captain American: The First Avenger

It’s hard to go against the Muppets here, but this song was an integral part of Captain America and was written by the second highest nominated song writer, Alan Menken, only second (in noms and in this category last year) to Randy Newman. The Muppets might have their votes split with likely at least two noms.

Best Original Score: The Artist 

The Artist is a silent film, so on that fact alone the score is going to one of the most memorable things about it because you’re not hearing anything else for an hour and a half. I also hear it’s quite good.

Best Film Editing: The Artist

There hasn’t been a major silent film in a very long time, and I think the unique editing style that will call for is something that will get the attention of voters.

 Best Cinematography: The Tree of Life

I don’t care what you think of Terrence Malick’s film, I’m in the middle of the road until I get a second viewing myself, but you can’t deny that it is easily the most beautifully shot film this year.

Best Foreign Language Film: A Separation (Iran) 

This film has been labeled a masterpiece by international and US critics alike, the Academy does have a history of making controversial calls in this category, but can it really go against that big of praise?

Best Animated Feature: Rango 

Pixar had a rare miscue with Cars 2, so the heavyweight will be taking a year off. Rango is a clever, gorgeously animated film that is the best reviewed animated film of the year, and just a joy to watch, see it if you haven’t.

Best Adapted Screenplay: The Descendants

This is a tough category, as Moneyball is a script that is almost just as praised. But Aaron Sorkin got recognition last year for Social Network, so I have the feeling they’ll go with Alexander Payne’s like they did when he won this award of Sideways.

Best Original Screenplay: Midnight in Paris 

This is the only category Woody Allen has been able to get nominated in since a Best Director nom in 1995. Midnight is also his biggest grosser in the US and a film a lot of people love. I’d be surprised if they don’t honor it somewhere and this is the best bet.

 Best Supporting Actress: Jessica Chastain, “The Help”

Jessica Chastain has had a busy year. She had seven films that came out this year, two of which are strong bets for best picture bets in The Tree of Life and The Help. She has an interesting problem with her campaign, people aren’t wondering if she should be nominated, but for which film she should be nominated. This is the breakout star of the year, she will get nominated, in my opinion for The Help, but all her other performances will factor in with people wanting to award her fantastic year.

Best Supporting Actor: Christopher Plummer, “Beginners” 

The legendary actor has been poised to grab his first Oscar since the details of this role were first announced, and his performance doesn’t disappoint, give the man his due.

Best Actress: Meryl Streep, “The Iron Lady”

This will be one of those awards that it will depend on what happens with the guilds. Streep is one of, if not the definitive, best actresses ever, and will be adding to her record number of noms. But will people say it’s finally time for her to get Oscar number three or give somebody else their first, or maybe second if it’s Tilda Swinton.

Best Actor: George Clooney, “The Descendants”

This is the toughest call for me. Does the Academy give his second, but first Best Actor, to George Clooney for his great work in The Descendants? Do they give another one of Hollywood’s favorite people, Brad Pitt, his first? Or do they give it to an actor who doesn’t utter a single line of dialogue in Jean Dujardin? Right now I think I’m going with George.

Best Director: Michel Hazanavicius, “The Artist” 

This film could not be pulled off with such acclaim and be considered the Oscar frontrunner without the vision and direction of Hazanavicius, it’s success should be directly associated with him.

Best Picture: “The Artist”

I gave it the most awards in this set of predictions so it shouldn’t be that much of a surprise. It has been one of my most anticipated films of the year, and even though I haven’t seen it, it’s been in the top two or three of everyone when it comes to handicapping the Oscars so far. It’s still not safe though, The Descendants, The Help, Hugo, all could play spoiler.

Here it is, my Oscar predictions before I’ve seen all the films and before we even get the nominees (hopefully they don’t make an ass of me and don’t even nominate one of my current winners). Please post who you think will be the winner’s come February and we’ll see who had the best foresight.

Just to clarify for everyone, these are just my predictions of who will win, not necessarily my favorite films of the year. I will have a top ten of my favorites in the next week or so.

Opinion: The Oscar Effect

It wouldn’t be very good for my credit and the credit of this new blog if I go too long into December without saying something about the ever-present thought, especially at this time of year, and constant news of award season. I enjoy the Oscars, I’ve seen each broadcast since “Lord of the Rings” won back in 2003, and am a constant visitor of award based sites like Incontention (now able to be found on Hitfx). It is my favorite time of the year for films from middle to late September to the end of the year, as each week often brings another highly anticipated film that’s release could change the landscape of all Oscar predictions. However there is a problem I find myself having as of late. Not having the advantage of people in the industry and critics to see a film ahead of time I hear so much hype or panning that it is hard to go into a film with no expectations that may slight my opinion of the film.

One great example of this Oscar effect is when I went to go see “The Descendants”. Alexander Payne’s film has been an early favorite for Oscar pundits for sometime before it was ever even seen, and after it made its debut at the Telluride Film Festival the hype only continued to grow for the film and for George Clooney. It also was able to bring about a less expected bit of praise for Shailene Woodley. The Telluride Film Festival ran in the beginning of September, but it wasn’t until the middle of November that “The Descendants” would make it to public theatres. That left two and a half months where most of what I heard about the film was high praise for Payne, Clooney, and the overall Oscar appeal that the film had. So, not surprisingly my expectations were raised. After seeing the film I thought it was good, but it wasn’t one of my favorite films of the year.

Now the Oscars are not the end all and be all of good films; I’m not trying to suggest that if a film is nominated for an Oscar that anyone in the world that doesn’t like it is just plain wrong. Everyone has their own tastes, their own personal dispositions toward genres, etc., etc. I’m just left wondering whether the hype that was almost non-stop for two and a half months on “The Descendants” was a key factor in my opinion of the film.

It’s not just with films up for Oscars in the current year though that have this effect it seems. I watch past Best Picture winners and my expectations are raised on that fact alone, and then fall when I wonder what exactly did people see in these films at the time of their release to call them truly the best films of that given year.

But it really shouldn’t be that surprising that these films don’t live up to the hype, at least in my own sight. That’s the great thing about film, one person can think is a fantastic, entirely enjoyable piece of work, another can walk out on it within the first fifteen minutes. Everyone knows the association that comes with the Academy Awards so it’s easy to be skeptical of them when a film that doesn’t exactly line up with our preferences wins the highest honor. But I’ve had years recently where my favorite film did go on to win Best Picture, and years when I film I probably wouldn’t consider to be in my top five took home the prize.

The Oscar effect is impossible to prevent really, films are going to get labeled by critics as sure-fire Best Picture projects and the only way to stop that is to become a critic or go to a festival and try to make your opinion ring just as loudly and affectively as the others. It is something though that I am weary of with one more film this year, “The Artist”; I only hope that the film will be able to reach me in a way where I won’t just see it as the current poster boy for the tiny gold statue.

Does anyone else seem to have this problem when they see a film that’s been talked about so highly for so long that it affects for viewing of it?