TV: what I'm watching...

Thanks to the DVR and my movie habit, I'm a few episodes behind on everything, but I'm working on it. =)

FRINGE. X-FILES with a plan. Plays out a bit slower than I'd like, but totally worth it. Everything matters. =)

JUSTIFIED. Frickin genius. The closest thing to a modern day western/gunslinger story I've seen and loved. Also some bonus points for bringing familiar faces in from shows that have passed on, i.e. Olyphant, of course, THE SHIELD's Shane/Goggins, LOST's Tom Friendly, Jack Shepard's grandpa, Locke's pot-growing guru, Bram, and Faraday(!), and Swearengen's henchmen from DEADWOOD. I really hope they get John Hawkes in for a story or as a regular. Maybe in a role not so different from WINTER'S BONE's Teardrop, eh? So glad Natalie Zea's sticking around (she's frickin hott =).

NO ORDINARY FAMILY. Original superheroics for television done right! SMALLVILLE's got its thing, but a lot of its appeal (for me) is that it gets to draw upon, and riff on, existing Superman and DC mythology. HEROES blew it. Sadly, THE CAPE may not have gone far enough with actual super-ness (does his son have to re-read the SAME issue of THE CAPE in every episode?). You can watch the last few episodes online at abc.com.

NOF is like THE INCREDIBLES, but serialized with both comic book and television drama archetypes in mind. They had a BREAKFAST CLUB episode! Which I actually think is more of a borrow from DAWSON'S CREEK than the original film. A good borrow. I also hafta say that supermom Stephanie is the role I like Julie Benz in most now. It suits her. She always seemed a bit "off" as Darla in BUFFY (better in ANGEL, tho), but I saw it as calculatedly "off," because she was playing a centuries old bitch in a schoolgirl's body. Mom Powell is just right, tho. More just right even than her sometimes-too-flat DEXTER role. The show is kind of dangerous, tho, in that it's created Katie Andrews (played by Autumn Reeser), who is just the perfect fanboy dream.

30 ROCK, COMMUNITY, PARKS AND RECREATION, and THE OFFICE are still delivering prime time comedy gold. More people need to watch and appreciate COMMUNITY and PARKS! In an unlikely way, COMMUNITY may be the closest thing to SPACED on American TV in that it borrows heavily from genre TV and film, and different ones in different episodes. Not quite as perfectly as SPACED, but pretty damn well, and with great effect. There's also just plain old quirk in a lot of it, which is something I love.

This is a weird testimonial, but if anyone out there in TV land wants to see how a series finale SHOULD be done, they should watch the end of PARKS AND REC season 2. For a while during season 2, the show was on the chopping block. Me being me, I wasn't quite on top of what the latest scuttlebutt was when the season finale aired. It played out as if it was a SERIES finale, tho. Maybe the writers weren't even sure? I don't know. Of course, as it turns out, the show was renewed, but MAN, that finale... If the show did have to go, well, it would've gone out with well, sadly, but well. After so many crappy, confusing, and disappointing final finales, this non-final one did it right.

I've also got ADVENTURE TIME WITH FINN AND JAKE, REGULAR SHOW, ARCHER, and VENTURE BROTHERS programmed into the DVR, too. =)

Keep on keepin on~

2011 Oscars: My picks / guesses vs. winners

Watched and tallied the Oscars at the Brattle tonight. A pretty quiet awards show, but a good time, altho there was a lot more hissing from the Brattle audience than I'd expected. =)

Franco didn't do as much Zany as I'd hoped, but neither of the young'ns totally embarrassed themselves. Aside from the best picture/dream-jumping intro, they didn't really DO a whole lot is all. And, actually, even that was kinda weak. What up w the BACK TO THE FUTURE ending?

Was interesting and telling to see how much the audience seemed to appreciate and miss the good old days, measured by the applause for Billy Crystal, who is still The Man.

"Soak it up, Hugh." Or was it "Jackman?"

Kirk Douglas was quietly and deliberately hilarious, if a little creepy. Randy Newman gave an entertaining little speech (duh-dibba-daddillio~). Natalie was emotional and poised. Firth was charming as ever, even as his awe and gratitude threatened to crack his British nonplussedness. I liked that he thanked Tom Ford. I wonder if it's considered im/polite or im/proper for an award winner to refer to earlier work that might have been award-worthy but overlooked.

Was cool to learn that KING'S SPEECH screenwriter is a stutterer himself. Also, that director Tom Hooper was first put on to the film's story by his mother, who'd seen a small-time live production of a play of it.

I don't typically pay attention to such things, so only during the awards did I learn that Melissa Leo had apparently launched an unusual and unprecedented vote-for-me campaign once she was nominated. Apparently her angle was to promote the more mature actress as an underdog in a competition with youngbloods. Was hers the first acceptance speech to be bleeped for the F-bomb?

No one really appreciated my Oprah joke: YOU get an Oscar! And YOU get an Oscar! EVERYBODY gets an Oscar!!!

The Bob Hope bits kind of killed. "Passover." =) I wonder if they were using this "holographic" tech for that...?

In the end, I correctly predicted the Academy's winners in 15 out of 24 categories. Better than most years. Of course, my personal preferences matched the Academy's winners in only 8 out of 24 categories. WhatEVs. Those bums left TRON: LEGACY and SCOTT PILGRIM out of a few categories and put KIDS ARE ALL RIGHT in despite its uselessness. Bleah.

Here's the Oscar ballot with my personal preference, my guess at the Academy's preference, and the actual Oscar winner. For my short commentary on each category, start here, after the ballot table, and continue here.

MY PICK	OSCAR GUESS	OSCAR WIN	NOMINEE
Best Picture
			BLACK SWAN
			THE FIGHTER
			INCEPTION
			THE KIDS ARE ALL RIGHT
	X	X	THE KING'S SPEECH
			127 HOURS
			THE SOCIAL NETWORK
			TOY STORY 3
			TRUE GRIT
X			WINTER'S BONE
Actor in a Leading Role
			Javier Bardem (BIUTIFUL)
			Jeff Bridges (TRUE GRIT)
			Jesse Eisenberg (THE SOCIAL NETWORK)
	X	X	Colin Firth (THE KING'S SPEECH)
X			James Franco (127 HOURS)
Actress in a Leading Role
			Annette Bening (THE KIDS ARE ALL RIGHT)
			Nicole Kidman (RABBIT HOLE)
X			Jennifer Lawrence (WINTER'S BONE)
	X	X	Natalie Portman (BLACK SWAN)
			Michelle Williams (BLUE VALENTINE)
Actor in a Supporting Role
		X	Christian Bale (THE FIGHTER)
X			John Hawkes (WINTER'S BONE)
			Jeremy Renner (THE TOWN)
			Mark Ruffalo (THE KIDS ARE ALL RIGHT)
	X		Geoffrey Rush (THE KING'S SPEECH)
Actress in a Supporting Role
			Amy Adams (THE FIGHTER)
			Helena Bonham Carter (THE KING'S SPEECH)
		X	Melissa Leo (THE FIGHTER)
X	X		Hailee Steinfeld (TRUE GRIT)
			Jackie Weaver (ANIMAL KINGDOM)
Directing
			Darren Aronofsky (BLACK SWAN)
			David O. Russell (THE FIGHTER)
	X	X	Tom Hooper (THE KING'S SPEECH)
X			David Fincher (THE SOCIAL NETWORK)
			Ethan Coen (TRUE GRIT)
Writing (Adapted Screenplay)
			127 HOURS
	X	X	THE SOCIAL NETWORK
			TOY STORY 3
X			TRUE GRIT
			WINTER'S BONE
Writing (Original Screenplay)
X			ANOTHER YEAR
			THE FIGHTER
			INCEPTION
			THE KIDS ARE ALL RIGHT
	X	X	THE KING'S SPEECH
Animated Feature Film
			HOW TO TRAIN YOUR DRAGON
			THE ILLUSIONIST
X	X	X	TOY STORY 3
Art Direction
	X	X	ALICE IN WONDERLAND
			HARRY POTTER AND THE DEATHLY HALLOWS PT 1
			INCEPTION
X			THE KING'S SPEECH
			TRUE GRIT
Cinematography
			BLACK SWAN
		X	INCEPTION
			THE KING'S SPEECH
			THE SOCIAL NETWORK
X	X		TRUE GRIT
Costume Design
X	X	X	ALICE IN WONDERLAND
			I AM LOVE
			THE KING'S SPEECH
			THE TEMPEST
			TRUE GRIT
Documentary (Feature)
			EXIT THROUGH THE GIFT SHOP
			GASLAND
	X	X	INSIDE JOB
X			RESTREPO
			WASTE LAND
Documentary (Short Subject)
	X		"Killing In The Name"
			"Poster Girl"
		X	"Strangers No More"
			"Sun Come Up"
			The Warriors Of Qiugang"
Film Editing
			BLACK SWAN
			THE FIGHTER
			THE KING'S SPEECH
X			127 HOURS
	X	X	THE SOCIAL NETWORK
Foreign Language Film
			BIUTIFUL
X	X		DOGTOOTH
		X	IN A BETTER WORLD
			INCENDIES
			OUTSIDE THE LAW
Makeup
	X		BARNEY'S VERSION
			THE WAY BACK
X		X	THE WOLFMAN
Music (Original Score)
			John Powell (HOW TO TRAIN YOUR DRAGON)
X			Hans Zimmer (INCEPTION)
			Alexandre Desplat (THE KING'S SPEECH)
			A. R. Rahman (127 HOURS)
	X	X	Trent Reznor / Atticus Ross (THE SOCIAL NETWORK)
Music (Original Song)
			"Coming Home" (COUNTRY STRONG)
			"I See The Light" (TANGLED)
			"If I Rise" (127 HOURS)
X	X	X	"We Belong Together" (TOY STORY 3)
Short Film (Animated)
X	X		"Day And Night"
			"The Gruffalo"
			"Let's Pollute"
		X	"The Lost Thing"
			"Madagascar, carnet de voyage"
Short Film (Live Action)
	X		"The Confession"
			"The Crush"
X		X	"God Of Love"
			"Na Wewe"
			"Wish 143"
Sound Editing
X	X	X	INCEPTION
			TOY STORY 3
			TRON: LEGACY
			TRUE GRIT
			UNSTOPPABLE
Sound Mixing
X		X	INCEPTION
			THE KING'S SPEECH
			SALT
	X		THE SOCIAL NETWORK
			TRUE GRIT
Visual Effects
			ALICE IN WONDERLAND
			HARRY POTTER AND THE DEATHLY HALLOWS PT 1
			HERAFTER
X	X	X	INCEPTION
			IRON MAN 2

Graphic: Oscar speeches dissected

Keep on keepin on~

My / Oscar picks (...and the rest...)

This is a continuation of my category-by-category commentary and guesswork that I began after my 2011 list of my-picks-vs-Oscar's.

My picks at mubi.com.
My picks at NYtimes.com.

My overall personal preference for the big best categories is pretty consistent...

WINTER'S BONE > TRUE GRIT > SOCIAL NETWORK > KING'S SPEECH

However, I've got a feeling that NETWORK and SPEECH are the top contenders in the Academy's hive mind, and that because of historic anglophilia and its more recent release date, SPEECH will edge out NETWORK.

When I realized this weekend that NETWORK's been available via Red Box at the supermarket for at least a couple of weeks already (man, I really dislike the big-screen-to-little-screen turnaround getting shorter and shorter... frickin frackin future : P), I started to rethink the "freshness" factor, but decided to stick with my original guessclusion.

Sadly, I think WINTER'S BONE is gonna be marginalized by its difficulty to be fairly and familiarly categorized, "elevator pitched," y'know? I've pitched it at people all year, since I was lucky enough to catch it at the IFFB, and people nod when I testify to its awesomeness, but then get a little lost when I try to describe its plot or sum it up as "Appalachia Noir."

I sincerely hope the nominations have boosted its numbers, for the film and its talented filmmakers.

THE KIDS ARE ALL RIGHT does not deserve a best pic nomination. SCOTT PILGRIM, anyone? Come on, people! Lifetime would have done a better job with the subject/s and cast of KIDS than this film does. Bleah.

TRUE GRIT. What's not for me to love in this, right? A classic John Wayne western, directed by the Coen Brothers, starring Jeff "Flynn" "The Dude" Bridges, and launching the career of a precocious actress who gets to play the most wonderful stubborn upstart, more than holding her own against Bridges, Damon, and Pepper. Unforunately, I feel like the Coens repeated visits to the Oscars, along with the film's western-ness itself, will keep it trailing in any head-to-head against NETWORK or SPEECH.

Directing: Tom Hooper (THE KING'S SPEECH). I'm sticking w the KING'S SPEECH sweep logic for this one and going w Tom Hooper. I'd be fine with Fincher taking it as well, cuz yes, SOCIAL NETWORK is some solid crafting of story. Still, I'd be happiest if Debra Granik could take it as a write-in (not nominated : P), and then the Coen Brothers for the punch-in-the-gut fun of TRUE GRIT, but *sigh* whatev.

Adapted Screenplay: SOCIAL NETWORK | Original Screenplay: THE KING'S SPEECH. Gotta go w SOCIAL NETWORK and KING'S SPEECH for these. I *want* TRUE GRIT or WINTER'S BONE for adapted, and ANOTHER YEAR or INCEPTION for original, but gotta go w the big frontrunners.

Animated Feature Film: TOY STORY 3. How does anyone not choose TOY STORY 3? Were there really only three films worth nominating in this category? Is it always three?

Art Direction: ALICE IN WONDERLAND. When we get to the technical and technical-ish categories, I kind of guess at their responsibilities and how I detect their expression in films. I take Art Direction to be a film's look-and-feel, its visual style and stylization. I distinctly remember being impresssed by the sets, environments, and ambience while watching THE KING'S SPEECH. Subtle, painterly, strokes and impressions. Of course, INCEPTION very much IS its visual design, and I am a sucker for its crisp-if-sterile take its dreamworlds. The world of TRUE GRIT is exactly as I would imagine it, and I love it for that. In this category, tho, I'm gonna say that the Academics will be most taken with the boldest moves, and those are definitely found in Tim Burton's ALICE IN WONDERLAND.

Cinematography: TRUE GRIT. This I take to be about camera work and point-of-view. I hafta admit that a perfectly shot film is doing its perfect job by not calling any attention to how its shots are framed, so no complaints should translate to high marks. However, shots that impress are things that stay with me, and more often than not, in connection to action scenes, and then in connection to delivering or reinforcing emotion, tone, or even message, which is a tricky thing for me to describe. TRUE GRIT did both for me, and I think if most people are just a little bit aware of such things, they would have to agree. Standout scene 1: Rooster C. vs. Ned's men on horseback. Standout scene 2: Rooster C. delivering Mattie Ross to safety.

Costume Design: ALICE IN WONDERLAND. See my rambling on Art Direction above.

Documentary Feature: INSIDE JOB. I originally picked the Academy picking EXIT THROUGH THE GIFT SHOP, because I thought that the film's layered and subversive storytelling would appeal, but on second thought, I'm thinking that the blasting of Wall Street's part in the current economic crisis would be more attractive a right-minded topic. So, switching my call to INSIDE JOB. Note that of the nominees in this category, I've only seen EXIT, which is hugely entertaining, if mind-bending once you leave and start thinking about it. Based on trailers and subject, I feel like I would *want* RESTREPO to win. It's a documentary that follows a platoon of U.S. solderies in Afghanistan.

Documentary Short: "Killing In The Name." A pick from the gut. I haven't seen any of the nominees in this category.

Film Editing: THE SOCIAL NETWORK. A detour from my KING'S sweep, I know. I feel like the multiple story and story-teller threads of NETWORK are kept masterfully untangled to deliver a simultaneously scandalous and nerdtastic, and satisfying, tale (*and* featuring Aaron Sorkin dialogue). And such a feat (again, more about the absence of bumps than the presence of something outstanding) has got to be a credit to crafty editing. So, I pick it as the Academy's solid choice. I'd be happier, tho, if 127 HOURS took it. I feel like editing (together with directing - great storytelling) made this film so much more than just a dramatization of a bleeds-it-leads news story.

Foreign Language Film: DOGTOOTH. I originally had BIUTIFUL as my Academy pick, but after seeing DOGTOOTH, well, I probably should still have BIUTIFUL as the Academy pick, but I'm gonna succumb to wishful thinking this one time. DOGTOOTH is remarkable, twisted and creepy, but really, remarkable. Even fun, to my mind. FLOWERS IN THE ATTIC, if it was set in THE VILLAGE, and shot by... I dunno... Antonioni, perhaps. I'd love for more people to see this, even if they don't love it, or get it, there are bound to be people who have no clue that they'd enjoy and appreciate this until they see it.

Makeup: BARNEY'S VERSION. I haven't seen any of the nominees, but WOLFMAN certainly must have had the *coolest* makeup. I think the Academics will end up being just a bit more impressed and into the transformations in BARNEY'S VERSION, tho.

Original Score: Trent Reznor / Atticus Ross (THE SOCIAL NETWORK). In the theater, I hafta say that Zimmer's score for INCEPTION is like another character in the film, an integral supporting one. If it was up to me, INCEPTION would win this, with Daft Punk (et al?) for TRON: LEGACY coming in a close second (frankly, I don't understand how they're not nominated, bleah). However, I'm gonna assume the Academy wants to be seen as the cool kids here and go with Reznor for NETWORK. I honestly cannot remember the music from the film, but given that it sprang from NIN, I cannot doubt that it was pretty frickin cool.

Original Song: "We Belong Together" (TOY STORY 3). I know it's Randy Newman's pretty much formula fare, but c'mon... It made you cry, didn't it?

Animated Short: "Day And Night." Pixar magic. I would LOVE to see "The Lost Thing" win it for its wonderful style and BRAZIL-ian story. I would also be very happy to see "Madagascar" win for its pot luck of animation styles applied to the sketches and paintings of a travel sketchbook. The one thing missing from "Madagascar" was untouched images from the original journal. I *really* wanted to see the source artwork compared with or transformed into the animated scenes we see in the short. But, man, Pixar works magic. The highest concepts reduced to the simplest stories, events, and struggles. Not just great animation, but consistently great storytelling. I would love to see what a team of Pixar filmmakers would produce if they were to go live action.

Live Action Short: "The Confession." I found "God Of Love" to be the most entertaining and satisfying of the noms. "The Crush" and "Wish 143" are my next faves, "The Crush" with a wonderful blend/collision of worlds, and "Wish" with a surprising moment of tenderness in the midst of wacky hijinks. "The Confession" and "Na Wewe" come in last. However, I think the craft of "The Confession" with its simple, basic, tragic story, and a couple of great kid leads (all but "God Of Love" featured young ones in their stories), will impress Academics most. I just didn't love it. I thought that it had some great images (the opening with the kids and their burden in the woods) and some annoying ones (scarecrow and its empty stand). It seemed to break its own style with odd "dream" sequences. And "Na Wewe...?" If only it didn't rely on a pun/chline to drive the end of the story. I actually doubt that most people in the theater understood that that was the case, tho, so many Academy viewers may not even know that that strike exists. Also, to leave the escaped child as a question mark... I didn't love that.

Sound Editing: INCEPTION. I really want to give TRON: LEGACY something, but I can't give it this category, the only one for which it was nominated (NOT VISUAL EFFECTS?!). Instead, I like INCEPTION for it, for jumping from world to accompanied by music, apocolyptic thunder, and the stillness and storm of limbo, and believe the Academy will have to agree.

Sound Mixing: THE SOCIAL NETWORK. This for me is about preserving the dialogue of a story against the cacophony of the story's world(s =). I like both INCEPTION and NETWORK for this, but personally give it to INCEPTION and Academically predict NETWORK.

Visual Effects: INCEPTION. Without TRON: LEGACY and SCOTT PILGRIM to give it a proper challenge (I'd have either in there over IRON MAN 2, can't speak to the ones I haven't seen), I give it to INCEPTION.

That's all, folks!

Keep on keepin on~

BTIES/H: at the mall last weekend...

Interlude 1.

While getting tickets for our movie (THE ROOMMATE, I think, or was it UNKNOWN, later? Drat my perforated memory : P), a couple of kids and an adult behind us get ready to order theirs, for GNOMEO, I'm guessing. Anyhow, the two boys rush the counter of the box office next to us, looking up at the posters behind the ticket seller...

Brother1: Look! That girl's not wearing any pants!
Brother2: Ewwww...
Brother1: What's that movie called?
Brother2: NO STRINGS ATTACHED.
Brother1: Disgusting.

=)

Interlude 2.

Standing in front of us in line at the Mrs. Fields/Pretzel Whatzit: two maybe fifteen year old girls. One of them is txting.

TXT: All Im going to do is drink beer! [SEND]
TXT: But I can't get too drunk! LOL! [SEND]

She txts some more, but we don't catch the rest. She exits txt mods and her default bg image comes on: photo of a wee baby.

*Thanks to JK for seeing, hearing, and sharing all the best stuff =)

Keep on keepin on~

BTIES: shooting stars

Keep on keepin on~

My / Oscar picks

My Oscar picks are below. If I mark the first column next to a nominee, under "MY PICK," that means *I* want the film to win in that category. If I mark the second column next to a nominee, under "OSCAR'S PICK," that means I think that the Academy will choose the film to win in that category. I am notoriously, historically, just plain AWFUL at reading the hive mind of the Academy, and I know that the films I tend to like for categories more often than not fail to win. FTW. So, if you're looking for a cheat sheet for your picks in your friendly Oscars pool, I wouldn't count on either column here, sorry. : P

Note that films I have not yet seen are colored gray. There are some cases where I choose a nominee that I haven't yet seen. I'm guessing at those, based on trailers, what I've heard or read (I avoid reviews, so it would've been a basic summary listing/blurb if anything), or just the sound of the title. =)

In the documentary shorts category, I am utterly clueless and have no preference for any one over the others. I guessed "Killing" for the Academy because I knew about its subject, an investigation into the manifesto / terrorist ideology that drove a man to become a suicide bomber, which seems about as cliched Hollywood liberal as you can possibly get, no? =)

You'll find some quick-ish *SPOILERY* comments following the picks table. I'll leave a gap between the end of the table and the start of the comments so you can avoid being contaminated with any plot details of movies you haven't yet seen. =)

MY PICK	OSCAR'S PICK	NOMINEE
Best Picture
		BLACK SWAN
		THE FIGHTER
		INCEPTION
		THE KIDS ARE ALL RIGHT
	X	THE KING'S SPEECH
		127 HOURS
		THE SOCIAL NETWORK
		TOY STORY 3
		TRUE GRIT
X		WINTER'S BONE
Actor in a Leading Role
		Javier Bardem (BIUTIFUL)
		Jeff Bridges (TRUE GRIT)
		Jesse Eisenberg (THE SOCIAL NETWORK)
	X	Colin Firth (THE KING'S SPEECH)
X		James Franco (127 HOURS)
Actress in a Leading Role
		Annette Bening (THE KIDS ARE ALL RIGHT)
		Nicole Kidman (RABBIT HOLE)
X		Jennifer Lawrence (WINTER'S BONE)
	X	Natalie Portman (BLACK SWAN)
		Michelle Williams (BLUE VALENTINE)
Actor in a Supporting Role
		Christian Bale (THE FIGHTER)
X		John Hawkes (WINTER'S BONE)
		Jeremy Renner (THE TOWN)
		Mark Ruffalo (THE KIDS ARE ALL RIGHT)
	X	Geoffrey Rush (THE KING'S SPEECH)
Actress in a Supporting Role
		Amy Adams (THE FIGHTER)
		Helena Bonham Carter (THE KING'S SPEECH)
		Melissa Leo (THE FIGHTER)
X	X	Hailee Steinfeld (TRUE GRIT)
		Jackie Weaver (ANIMAL KINGDOM)
Directing
		Darren Aronofsky (BLACK SWAN)
		David O. Russell (THE FIGHTER)
	X	Tom Hooper (THE KING'S SPEECH)
X		David Fincher (THE SOCIAL NETWORK)
		Ethan Coen (TRUE GRIT)
Writing (Adapted Screenplay)
		127 HOURS
	X	THE SOCIAL NETWORK
		TOY STORY 3
X		TRUE GRIT
		WINTER'S BONE
Writing (Original Screenplay)
X		ANOTHER YEAR
		THE FIGHTER
		INCEPTION
		THE KIDS ARE ALL RIGHT
	X	THE KING'S SPEECH
Animated Feature Film
		HOW TO TRAIN YOUR DRAGON
		THE ILLUSIONIST
X	X	TOY STORY 3
Art Direction
	X	ALICE IN WONDERLAND
		HARRY POTTER AND THE DEATHLY HALLOWS PT 1
		INCEPTION
X		THE KING'S SPEECH
		TRUE GRIT
Cinematography
		BLACK SWAN
		INCEPTION
		THE KING'S SPEECH
		THE SOCIAL NETWORK
X	X	TRUE GRIT
Costume Design
X	X	ALICE IN WONDERLAND
		I AM LOVE
		THE KING'S SPEECH
		THE TEMPEST
		TRUE GRIT
Documentary (Feature)
		EXIT THROUGH THE GIFT SHOP
		GASLAND
	X	INSIDE JOB
X		RESTREPO
		WASTE LAND
Documentary (Short Subject)
	X	"Killing In The Name"
		"Poster Girl"
		"Strangers No More"
		"Sun Come Up"
		The Warriors Of Qiugang"
Film Editing
		BLACK SWAN
		THE FIGHTER
		THE KING'S SPEECH
X		127 HOURS
	X	THE SOCIAL NETWORK
Foreign Language Film
		BIUTIFUL
X	X	DOGTOOTH
		IN A BETTER WORLD
		INCENDIES
		OUTSIDE THE LAW
Makeup
	X	BARNEY'S VERSION
		THE WAY BACK
X		THE WOLFMAN
Music (Original Score)
		John Powell (HOW TO TRAIN YOUR DRAGON)
X		Hans Zimmer (INCEPTION)
		Alexandre Desplat (THE KING'S SPEECH)
		A. R. Rahman (127 HOURS)
	X	Trent Reznor / Atticus Ross (THE SOCIAL NETWORK)
Music (Original Song)
		"Coming Home" (COUNTRY STRONG)
		"I See The Light" (TANGLED)
		"If I Rise" (127 HOURS)
X	X	"We Belong Together" (TOY STORY 3)
Short Film (Animated)
X	X	"Day And Night"
		"The Gruffalo"
		"Let's Pollute"
		"The Lost Thing"
		"Madagascar, carnet de voyage"
Short Film (Live Action)
	X	"The Confession"
		"The Crush"
X		"God Of Love"
		"Na Wewe"
		"Wish 143"
Sound Editing
X	X	INCEPTION
		TOY STORY 3
		TRON: LEGACY
		TRUE GRIT
		UNSTOPPABLE
Sound Mixing
X		INCEPTION
		THE KING'S SPEECH
		SALT
	X	THE SOCIAL NETWORK
		TRUE GRIT
Visual Effects
		ALICE IN WONDERLAND
		HARRY POTTER AND THE DEATHLY HALLOWS PT 1
		HERAFTER
X	X	INCEPTION
		IRON MAN 2

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Comments with some *SPOILERS* follow...

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Best Picture: THE KING'S SPEECH. I have NO IDEA why KIDS ARE ALL RIGHT is nominated for anything. I think that there is nothing special about that film except for the caliber of the cast, which is wasted on the material. MAYbe the message is that the family of a same-sex marriage is just as screwed up as any other family on the block...? But if that's the case, why not introduce another WOMAN? Granted, Mark Ruffalo is irresistible, so he was properly cast, but why should the story want to have a man break up a shaky lesbian couple in the first place? I feel like what was sold as the central theme of the film--the challenge and drama of two siblings choosing to meet and begin relationships with their anonymous sperm-donating biological father--was criminally marginalized. Or did I just completely misread the film's trailer and promotion? Bleah.

I forget, was FIGHT CLUB nominated for best pic? If so, then BLACK SWAN is a fair choice. Otherwise, I feel like it's borderline best picture material. It's beautifully crafted, and features a great cast giving great performances, but it's like FIGHT CLUB meets SUSPIRIA, or a Ken Russel film, y'know?

I feel like it's really between SOCIAL NETWORK and THE KING'S SPEECH, and that goes for their rivalry across all categories. KING'S SPEECH has the advantage of its end-of-year release, as well as its British-ness. I think the Academy is a sucker for the accents, the collision of class, and that English brand of wit, y'know? I really wish WINTER'S BONE could take it, cuz it is such an amazing and unlikely convergence of talent and story, but I'm afraid it's not as accessible as the frontrunners I've identified. Boo. I'd be VERY happy to see TRUE GRIT take best pic. I loved that film from start to finish. My guess is that it feels/reads to too many people like "another western," when what it actually is is "another amazing Coen Brothers film that happens to be a western." Danny Boyle did something amazing with 127 HOURS, taking a story that everyone knows the ending to, and in his telling of it, manages to get you to suspend that knowledge. I saw it weeks after it had opened in a two-thirds full room at the Kendall, and when the moment of truth came, there were more than a few genuine cheers and "holy sh@t!" exclamations of surprise and relief. Still, another accessibility issue, which is really unfortunate, because while the situation and story is so singular, specialized, unique, Boyle and Franco make it remarkably, well, universal.

Best Actor: Colin Firth (THE KING'S SPEECH). I feel like it's between Franco and Firth for this, with Firth winning it.

Best Actress: Natalie Portman (BLACK SWAN) I think every nominee but Bening really delivered performances that make their films (not that Bening's performance was poor, just wasted on crap material). Jennifer Lawrence in WINTER'S BONE is my favorite, a young, powerful, cool, yet simmering revelation, but I have to give it to Natalie for out-acting everyone by rising to meet the challenge of such a physically and emotionally demanding role. Damn impressive.

Best Supporting Actor: Geoffrey Rush (THE KING'S SPEECH). I have a feeling that Bale probably delivered a kickass performance, but sad to say, I haven't been able to see THE FIGHTER yet. I want John Hawkes to win this, but I feel like a sweep by THE KING'S SPEECH will carry this category as well. Rush IS excellent in it, but how terrible is it of me to say that excellence is what's expected of him? Although... Okay, I hafta say that he's more excellent than his baseline excellent because of his chemistry with Colin Firth. It's almost not fair to name them each separately for different categories. There should be a "chemistry" or "synergy" option as well.

Best Supporting Actress: Hailee Steinfield. I want to give it to Hailee Steinfeld, and I'm gonna say the Academy does, too. She is a genuine treat to watch in TRUE GRIT. Precocious, stalwart, righteous, clever, and vengeful. Also, 14 years old (her character, at least). She more than holds her own against and opposite Bridges, Damon, Pepper, and every other cast member and supposed adult / authority character in the film. I'm afraid that Helena Bonham Carter is done in by her King and his speech therapist. She is a lovely and sharp better half, but next to the pair of Firth and Rush, she just doesn't shine as much as she could, and has in other roles. I have no clue as to the on screen goodness of Jacki Weaver in ANIMAL KINGDOM, but I'm telling myself that that in itself is a sign of how little of a fight she can give her fellow nominees. I'm familiar w Amy Adams and Melissa Leo, and if they were in different films, I'd probably pick Melissa Leo to win, performance unseen (she is amazing in FROZEN RIVER). *BUT* since they're both in THE FIGHTER, I'm gonna actually apply a bit of strategery to my Oscar prediction and say that fans of the film will split between the two, each putting a dent in the others' support, leaving Hailee to be triumphantly buoyed by a winning quorum of faithful, right-minded Academy members. She really does rock that film. Thank goodness she's not up against Portman and Lawrence. While watching her in GRIT, I thought of each of those other actresses several times.

Enough rambling for now. This bloggorhea has been fueled by post-late-shift-volleyball nonsomnia. Time now, hopefully, to sleep.

* February 27, 2011. Click here for rambling on the rest of the categories.

Keep on keepin on~

BTIES: THOR

The Destroyer looks kickass in this! When I saw him in the earlier trailer, I was kind of amazed that one screenplay could pack everything AND the Destroyer in it, but it all looks like it fits pretty well in this trailer. I'm guessing Loki does his trickster thing and gets Thor to start a fight he shouldn't have, putting Asgard at risk. Odin believes Loki's frame-up and blames Thor, banishing him to Midgard, where he learns to appreciate mortals and their world. Meanwhile, back in Asgard, Odin creates the Destroyer to take Thor's place as defender of the realm, and Loki continues his machinations, which ultimately lead to a Destroyer out of control. Odin realizes his mistake and uses his last ergs of freedom to send Thor's hammer to Midgard. Of course, The Destroyer follows, maybe on Loki's orders, but perhaps as a slave to some combination of directives that nets out to "Destroy Thor," back on Earth. We already know that there will be a SHIELD presence. Would be nice to catch some news of the Hulk's rampage in the background. Would be very happy if Hollywood could pull off a decent riff on the original Avengers origin, y'know? A gathering of heroes in response to Hulk smashing, arranged by Loki. Would be easy enough to swap Loki out for another more hands-on villain. O well... Guess we'll wait and see... in 3-D.~

Did I read correct? Kenneth Branagh directing. Wack. I gotta say, I'm down on 3-D-ness. Hoping to catch it at somewhere like Somerville Davis when it opens, in boring 2-D. =)

Keep on keepin on~

VISION MACHINE: remix: Ps[iEye]ch

In answer to Greg Pak's VISION MACHINE remix challenge. The complete original story is available for download at visionmachine.net. Probably best to read that before the "remix" below...

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Ps[iEye]ch

Yes, the iEye treatments I've developed have been in use by the VA for years now, and are presently being applied by therapists with great success in a wide spectrum of patients. It was back in 2057, under an exclusive arrangement with Sprout and a VA grant, that I began using iEye prototypes with my patients. These were pre-release models and weren't even called iEyes then. As a professor of psychology and a practicing therapist, I specialize in post-traumatic stress related issues and the use of regression hypnotherapy in examining and treating them. I designed an iEye program to help patients confront their experiences in controlled virtual re-creations. Sometimes cases would involve completely repressed or "lost" memories, so I would create a rough iEye animatic of their missing experience based on the accounts of other witnesses or resources. Then I would have the patient join me in this animatic vision and nine times out of ten, with some pre-vision hypnotic coaching, the patient would "color in" the details, and we could confront their traumatic experience together.

In my second generation of iEye aided therapy, I developed a library of miniEyemovies that I could "apply" in-session to patients to bring them to varying degrees of relaxation and submission via computer-controlled hypnotic and subliminal AV "injections," dancing lights and color accompanied by audio guidance in various frequencies. I conducted entire sessions within my own iEye office construct, remotely sometimes, altho only when absolutely necessary. In uncontrolled environments, even at home, some patients' involuntary reactions could pose inadvertent threats to themselves and others.

I began my third generation program of therapy after Sprout released the commercial iEye. This allowed me to aid my patients using re-creations provided by firsthand witnesses and participants. First I contacted these trauma characters and requested that they record and upload accounts for me to use. Then I found that personal interviews, with linked iEyes, provided even greater fidelity and detail. Most people were very happy to help me in my therapeutic project, but a few were reluctant to share their iEye viewpoints, which was completely understandable.

It was during these interviews that I learned I could somehow instinctively enter their iEye visions, undetected. In some cases, I could manipulate their visions in concert with my interview questions, helping to clarify their account of events, as well as apply my subliminals, as I would to patients, to ease them into a state where they could relive and recount details in an unedited fashion.

I know, it sounds a bit sinister, but after the fact, they leave with a clearer picture and memory of events, have provided great aid in the recovery and rehabilitation of a patient, and for my part, have lost or compromised nothing, as I regard confidentiality as an ultimate directive in all activities related to patient treatment.

I deduced that my prototype iEye, developed as it was specifically for therapy, is what allowed me to make these unannounced visits into others' visions. However, I eventually learned that this was not in fact the case. More on that just a bit later.

I soon discovered that this iEye sync capability was a great help in everyday life. I learned to visualize windows into iEye visions of anyone within a hundred meters of me. Early on I would have to focus on a person to visualize and then link, but eventually, I found I could pluck their visions out of the local ether, like channels or net stations, and browse them. I also developed more handy subliminal shortcuts, macros, if you will, that I could drop in to make things go my way. Clear a lane of traffic on the freelanes. Get a salesperson to offer the best possible price. Order off the menu at a restaurant whose maitre'd found me a table on a completely booked-up evening.

That really impresses the ladies.

Not that I really have to do all that much to impress them, thanks to some little pink macros I keep at the ready. As a proper gentleman, I do everything in my power to show a companion a wonderful time. Generous to a fault perhaps.

It's been years now that I've been working with the iEye therapy, and most of my research has led to a general acceptance of the device as a mental health therapy tool. Of course, I haven't shared all of my practices, but even without my shortcuts, iEye enhanced therapy has proven to be very successful across the board. I suspect that other practitioners have or will develop similar tools on their own. That's in the nature of the work.

Still, none would likely be quite as successful as I. You see, it turns out that the ability to enter and manipulate others' iEye visions is something biological, an innate and untapped psychic ability, awakened only by the stimulus of the iEye device. I learned this just a few months ago, when Jane, of Jane's World, began appearing to me within my own visions. She was like me, someone that Sprout called an "effective dreamer." A little flowery and vague a term if you ask me, but I'm sure Sprout poured millions into constructing the most mass-appealing term. Over the course of several sessions, she revealed to myself and a dozen or so other developing effective dreamers that the iEye network needed to be rebooted and rebuilt, organically, using our combined abilities to create a foundation stripped of the code that an increasingly paranoid government and almost pathologically voyeuristic consumer-feeding corporate complex had imposed upon it.

A lofty and right-minded crusade. But honestly, Jane had recruited more than enough mind-power for the job--as evidenced by her success!--and I felt that my ability to serve my patients might be compromised by my participation in such a revolution. So, I visited with Jane, and each of the other potentials, one-on-one and off-network, and erased all traces of their contact with me and any knowledge of my capabilities. I suspect that Jane's talent will allow her to find me again, but when she does, she will believe it is for the first time. When that happens, I'll decide then if I'm ready to come out.

I also planted a series of suggestive protections against their possible accidental interference with any part of my ongoing treatments. Simply put, I have a defense against any and all of their abilities to influence others in the iEye network. Subconsciously, they will know me for one of Jane's chosen ones and they will find themselves unable to manipulate any aspect of my vision worlds or my self.

In fact, it's probably best for everyone--society as a whole, I'm speaking of--if someone with my capabilities and wisdom remains out of the spotlight, unrecognized, held in reserve. An ace in the hole, perhaps, to be played against the certainly brewing counterstrike.

I might be the difference between freed minds and a Big Brother. If I were to appear on the scene at just the right, crucial moment in such a conflict, well, I might just save EVERYone... But--the situation would have to be dire indeed for that to pass.

I've been considering taking pre-emptive measures... You see, I have some strong connections on Capitol Hill, having consulted with Chavez early on regarding regulation and "open" practices surrounding the iEye. Perhaps I will take a little time out to visit the White House. Chavez has wanted me to visit with the President and other non-Sprout iEye experts to pick our brains, heh, as it were. It will give me an opportunity to do that to her, and make certain that she's seeking to strike back at the so-called Visionaries.

Oh, did I say "seeking?" Of course I meant "NOT seeking." And that's how you'll remember it when you report the properly edited version of this interview to your readers and viewers.

What they don't know won't hurt them, right?

Pak Man Productions.


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Kinda rushed, I know. It can use some editing and would benefit from just a little bit of research, but I felt I couldn't help it, as there is a looming mystery deadline if I want to qualify/win.

Gotta say. Pak has wonderfully extrapolated the potential for good and awesome in a fantastic technology of tomorrow with ingenious results. Like all great sci-fi, in creating a future, it comments on its seeds in today. I hope he takes it as compliment that for me it called to mind bits of Whedon's DOLLHOUSE in that feat, as well as built brilliantly on some what-I-thought-were-goofy ideas I've pondered on my own. Really good crack. =)

I first had "Heal Thyself" as a title, but as I rambled this out, it seemed to apply less and less. I ended up going with "Ps[iEye]ch" which I really like for the concept, but don't love for its execution in type. O well...

I hope you enjoyed.

* February 18, 2011. Update, via tweet from the Pak man himself!

.@cabinboy100 posts a #visionmachine inspired short story & gets a trade paperback! http://bit.ly/gOH7Hj Now your turn! http://bit.ly/hheEiA

Huzzah!

Keep on keepin on~

black monday: Io, Lupercalia!

Happy frickin Valentine's Day, all!~

If you're seeking guidance regarding a special someone today, I would like to direct you to an obnoxious somewhat-interactive resource that might be of some help. Based on the notion that Cupids, meddling pixies of romance and wuv that they are, should have some secret and supernatural insight into matters of crushing, courting, and loving, you will be given the chance to extract some of that truth and wisdom for your very own! How? By squeezing it from Cupid's own lovetastic organ - his heart!

Remember, however, that the truth DOES sometimes hurt...

With that in mind, go collect some hearts! Good luck!

Love *IS* in the air... SHOOT IT DOWN!

* Beware: Music and sound effects are involved, so adjust your volume accordingly! =)

I don't care if Monday's black...~

Keep on keepin on~

Save NPR and PBS (again and again?!)

Douchebags... Douchebags! Yip yip yip yip! Doooouchebags!


Don't these dicks have kids? Who's gonna provide their kids with kickass educational children's programming? Their interns and craigslist escorts?

Check out the latest at 170 Million Americans for Public Broadcasting and sign the MoveOn petition, copy/pasted message follows below...

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This message brought to you by the letters "W," "T," and "F..."

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Dear MoveOn member,

I guess we shouldn't be surprised.

With Republicans back in charge of the House of Representatives, funding for NPR and PBS is in grave danger. Again.

The Republicans just released their budget proposal, and it zeroes out funding for both NPR and PBS—the worst proposal in more than a decade.1

They probably think that no one will notice these cuts in the midst of so many others. But the millions of listeners and viewers who rely on public broadcasting for "Sesame Street," "All Things Considered," and independent journalism will notice.

We need to tell Republicans that cutting off funding was unacceptable last time they were in charge, and it's unacceptable now.

Add your name to the petition to save NPR and PBS

The petition says: "Congress must protect NPR and PBS and guarantee them permanent funding, free from political meddling."

Thanks for all you do.
–Daniel, Amy, Michael, Wes, and the rest of the team

1. "Beyond Reason on the Budget," The New York Times, February 10, 2011

BTIES: from the superb owl...

Favorite ad...


Favorite halftime show online dropping and unstable wiki(p)article...

Keep on keepin on~

snowmageddon goofs...

snow upon snow + digital photography + interwebz + photoshop + insomnia = 2 more snowfakes...


Don't judge Willy Wampa. He's surly, it's true, but mostly cuz he's lonely.

So lonely.


Kids just can't get enough of INCEPTION! And who doesn't love building (and assaulting) a bad@ss snow fort manned by a private army of killers from your subconscious, right?

Keep on keepin on~

BTIES: Gundam!

... or... Those crazy Japanese!

Crazy AWESOME! =)

Keep on keepin on~

BTIES: /sTron =)

The Strokes in a tank program!? Wack!

Happened upon this in some of my Tron reference research for the ColberTron sequel.

I'm not sure if I would like this Cars-iness so much if I heard it on the radio, but with this video as my first exposure to this particular song, I think I'm being influenced by the "Take On Me" effect, y'know? =)

Keep on beepin on~

BTIES: Use the Force...

To sell me a car...?

HOW did VW get in bed with Lucas? Crazy and audacious, but undeniably cute result.

Gotta wonder about the fate of this kid, and his poor parents, choosing the Dark Side and all...

Thanks to HM-R for the mind trick. =)

February 10, 2011. Outtakes! =)

Thanks to KP for the bonus scenes. =)

Keep on keepin on~