Wednesday, December 31, 2014

My REVISED top 10 films list for the year 2014

David Oyelowo in Selma
For the last few years it feels like a mediocre time for movies until December rolls around, and then you see a slate of films that reaffirms your faith in Hollywood's creative juices.

As 2014 comes to a close, I have solidified my top 10 favorite films of the year -- with the very huge caveat that I have still yet to see a handful of strong contenders.

For instance, I still need to see and want to see: A Most Violent YearBig Eyes, Wild, American Sniper and The Imitation Game -- all films that I could see earning a spot on my list when all is said and done. So, consider this a tentative top 10 until I've had a chance to really assess this past year's offerings.

Still, I am happy to say that despite the dominance of superhero films and young adult novel adaptations, there were some breathtakingly inventive and moving motion pictures in 2014. And I am also happy to report that some of those films came from fresh voices instead of the same old usual suspects. There were also quite a few letdowns (*cough* Interstellar *cough*) and overrated movies. We lost some giants, like the great Philip Seymour Hoffman and Robin Williams. And we saw a major studio, Sony, shaken to its core by an unprecedented hacking.

But I digress. What do I think are the best movies of 2014? Here are my first thoughts on the matter.

10) Top Five - Quite possibly the funniest film of the year in a particularly weak one for mainstream comedy. Chris Rock finally finds his voice as a director and an actor in this Woody-Allen-esque and very meta look at a middle-aged comedian trying to rediscover his passion for his craft. The movie isn't perfect, Rock still has his problems portraying women. But this film has the most uproarious cameos of the year, some of the most savagely funny scenes and it feels fresh -- which is more than I can say for a lot of Hollywood comedies these days.

9) Dawn of the Planet of the Apes - If you can get past it's mouthful of a title, this epic action film was easily the best summer blockbuster of the year (sorry Guardians of the Galaxy fans). This smart, insightful film built on its very good predecessor and wound up with an even richer, more sophisticated adventure. Credit goes to director Matt Reeves (one of the underrated new auteurs), the incredible CGI -- which is the best I've ever seen -- and the great Andy Serkis, who imbued lead ape Caesar with so much leading man appeal that he outshone all his human co-stars. Can't wait for the third installment in this ape vs. man saga.

Rosamund Pike and Ben Affleck in Gone Girl
8) Whiplash - A wild and intense film largely revolving around two characters -- determined young drummer Miles Teller and his dictatorial and manipulative instructor J.K. Simmons (who is likely the shoo-in for the best supporting actor Oscar). The movie has the excitement and tension of a dynamite action film which is impressive for a story that revolves around a youth jazz band. If you overlook some of the more unrealistic flourishes, you'll enjoy this film for the madcap masterpiece it is. Bonus points for the incredible score.

7) Gone Girl - Director David Fincher struck gold again with yet another interpretation of a pulpy but imperfect popular novel. In my humble opinion, his directing and editing improved on author Gillian Flynn's prose on every level. Rosamund Pike gave a revelatory performance and Ben Affleck solidified his status as a relevant leading man with this film. But this was Fincher's show from beginning to end. His signature style may occasionally teeter on the edge of self parody, but he has been such a consistently excellent auteur that I am in line already for whatever he does next.

6) Foxcatcher - This brooding true crime film is clearly not for everyone's tastes, but I found it truly riveting. It boasts three of the best, truest performances of the year from Steve Carell, Mark Ruffalo and Channing Tatum in a film that is more than it appears to be. Yes, it details the descent into madness of a rich elitist and the toll it took on a pair of wrestling brothers he desperately wanted to mentor -- but it also is about capitalism and greed and the American preoccupation with dominance. An endlessly fascinating, quiet film that I definitely am looking forward to revisiting.

There is some separation here for me between my top five and the rest of the pack. Any of these four films could wind up emerging as my final favorite film of the year. These are compelling and effective movies that are among the best of 2014 because they so thoroughly accomplished what they set out to do.
Scarlett Johansson in Under the Skin
5) Inherent Vice - Paul Thomas Anderson makes a triumphant return after his mercurial take on Scientology, The Master. A sprawling, gorgeous and hilariously funny homage to the oddball era which was the early 1970s, this shaggy dog mystery may rub some audiences the wrong way, but I loved it. First off, it has such a fun, eccentric cast of underused character actors (like Benicio Del Toro, Eric Roberts and Martin Short) and performers doing what they do best (Josh Brolin, Owen Wilson and a never better Joaquin Phoenix). I have no idea how this stoner epic compares to the book but its a testament to this whacked out film that I immediately wanted to read it.

4) Under the Skin - The weirdest (in the best way) film of the year is this beautifully strange and mysterious sci-fi drama, which provided Scarlett Johansson with the best role of her career. This trippy film has been compared to Stanley Kubrick's 2001: A Space Odyssey and it's easy to see why -- it is open to so much interpretation and can be viewed as a genuinely thought provoking meditation on women's bodies and how they are used and manipulated. This movie never had a chance commercially and was unfortunately reduced in some circles to 'the movie where ScarJo gets naked' but it's so much more than that. It's almost impossible to describe -- I'll just say that it haunted me when I first saw it earlier this year and I knew that it would make my top five no matter what else came out this year.

3) Birdman - Quite possibly the most fun I've had at the movies this year was watching this comeback vehicle for one of my all-time favorite actors, Michael Keaton. He gave what remains my favorite acting performance of the year in a self-referential role as a washed-up actor trying to to redeem himself with a stage production of a Raymond Carver story. He is bolstered by an eclectic supporting cast including a never better Emma Stone and Edward Norton. And the movie's inventive visual style (it's made to appear as one single shot) could have felt gimmicky but wound up being exhilarating. A truly cinematic original that deserves all the accolades it's receiving. I can't believe it's not a bigger hit.

When it comes to my number one and two, I have gone back and forth several times. I didn't want to have a tie -- because ties are lame -- but these picks are really as neck-and-neck as they could possibly be. I ultimately make my final pick for the best of the year based on the fact that it was the most original film and I prize that over everything else.

2) Selma - It may be a conventional biopic in many ways -- but it's also one of the best and more relevant I've seen. Last night I saw this searing and powerful film (I'll be writing more about it later for msnbc) and I was blown away. No movie moved me more emotionally this year. Director Ava DuVernay does an incredible job of humanizing Martin Luther King, providing a history lesson without losing nuance or tension and of telling a story that takes place nearly 50 years ago that feels more relevant to our times than any other movie released this year. The performances and production design are all note-perfect and the film is unflinching in showing the dark side of the voting rights struggle. It's in so many ways the opposite of The Butler, a safe and audience friendly look at the civil rights era. Selma is restless and revolutionary, quite possibly the best awards contender of the year.

1) Boyhood - I haven't revisited this film since it first came out and yet it still sticks with me as the most profound movie-going experience I've had this year. Now, on second viewing I could change my mind about that and go with Selma, which is fresher in my mind. But here's the thing, despite the recent backlash to this movie, I still feel like it's the greatest coming-of-age movie I've ever seen. And due to the mind-blowing audacity of the project (it was filmed over 12 years) I felt like I had literally lived with the characters on the film -- which is a feat that is incomparable. Richard Linklater made the banal and everyday feel epic and captured this unique era of our lives better than any recent movie I've seen. A towering cinematic achievement even if it wasn't driven by plot or a flashy style. This gets my vote because it was the most innovative movie I saw this year.

Speaking of this year -- I started this blog in January largely to appease myself and my frustrated desire to write about film for a living. I have finally found an outlet for that in my day job but the feedback and positive encouragement I've received for this movie blog has inspired me to keep it going. I have to give thanks to Brian Wezowicz for inspiring me to do this in the first place and Elizabeth Rosado for reading and editing every single one of my posts.

Happy new year!

Tuesday, December 30, 2014

Extra! Extra! It's my 10 favorite journalism films of all time

Redford and Hoffman in All the President's Men
This year marked one decade for me working as a journalist in New York City. 2014 has also been, without a doubt, the most successful and perhaps, most gratifying of my career to date. I started a stint at msnbc.com in April and this month I made my first television appearances reporting on the Sony hacking story.

All of this got my girlfriend and I talking about the journalism movies that entertained and inspired me over the years. I did not dream of becoming a reporter as a child, but the world of media always appealed to me and intrigued me, largely thanks to movies I'd seen.

Hollywood has both romanticized and vilified the press in equal measure, and some of the film's most compelling satires and dramas have centered on the so-called "Fourth Estate."

Here are my 10 favorite movies about or featuring members of the press.

10) Good Night and Good Luck (2005) - Director-star George Clooney's tribute to Edward R. Murrow and his crusade against the red baiter Joseph McCarthy stops short of being preachy thanks to David Stratharin's excellent, controlled performance as the perpetually smoking Murrow. Clooney does a terrific job capturing the early days of television and the heady days of the Cold War. I particularly love the speech Stratharin delivers in the film's opening. It's as much a condemnation of the Bush-era media's complicity in dumbing stories down as it is an indictment of '60s-era indifference.

9) It Happened One Night (1934) - This groundbreaking romantic comedy has a journalism story at its heart. The dashing Clark Gable teams up with runaway bride Claudette Colbert at first because he thinks covering her conundrum will help him earn headlines. But in the midst of their road trip a genuine affection develops between the two. Newsrooms seemed to be a favorite locale for screwball comedies, but in my estimation this quick-witted Oscar winner is the best.

8) Ace in the Hole (1951) - This dark and disturbing indictment of media excess flopped when it first came out -- probably because its protagonist (Kirk Douglas in one of his best roles) is essentially the bad guy. But today it's viewed as the masterpiece that it always was. 

Douglas plays a down-on-his luck newspaper man who stumbles onto a story he can milk when he discovers a man trapped in a cave. Director Billy Wilder portrays a cynical world where everyone from the police to the endangered man's wife see profit in peril. A fascinating film.

7) Broadcast News (1987) - James L. Brooks scored another hit with his moving follow-up to the tearjerker Terms of Endearment. Holly Hunter, William Hurt and Albert Brooks make for a dynamite trio in this romantic comedy which also provides an inside view of how TV news is shaped. Brooks is at his best as a neurotic correspondent who dreams of becoming an anchorman but melts under pressure. Hurt is the airhead who's a natural on television. And Holly Hunter gives one of her all-time best performances as an overworked producer who is the object of both men's affections.

6) The People vs. Larry Flynt (1996) - A stirring meditation on the value of the First Amendment, featuring an Oscar worthy performance from Woody Harrelson as the unapologetic "pervert"-- Larry Flynt. Some critics have argued that the film unjustly romanticizes the Hustler publisher, and that may be true. But the film is so well acted, written and crafted, it's hard to deny its appeal. The movie begins as a biopic but really picks up steam when it delves into Flynt's furious battles with censorship and the conservative elites. Courtney Love is also surprisingly good as Flynt's unpredictable wife Althea.

5) The Paper (1994) - No movie has better captured what life is like at a big city, modern daily newspaper like Ron Howard's little known masterpiece. Michael Keaton gives one of his most lively, charismatic performances in this all-star ensemble piece about a scrappy tabloid covering a racially charged murder. Glenn Close is his equal as his hard nosed foe and Marisa Tomei is delightful as his very pregnant wife who still does some reporting on the side. It's an earnest, heartfelt movie that is paced almost like an action movie. An underrated New York classic.

Chevy Chase in Fletch
4) Network (1976) - When this biting satire of network news was first released it was dismissed in some circles as wildly over the top, but with each passing year this impeccably acted film becomes more and more prescient. This film not only predicted the rise of the self-appointed prophet-style pundit but also the advent of reality television. The killer cast has many standouts but my favorite may be William Holden as a sad and mournful man caught between generations of media. Meanwhile, Peter Finch's "mad as hell" moment remains one of the most quoted scenes of all time.

3) Anchorman (2004) - Yes, it's a broad and ridiculous Will Ferrell comedy. But it also happens to be Ferrell's best comedy and most durable character. Ron Burgundy isn't just a blowhard news anchor, he is also a subversive send-up of everything television news has become. 

I saw this film just weeks before I entered journalism school, so it has always had a special place in my heart. And besides the belly laughs, this undeniably silly film (and it's underrated sequel) has some pretty smart things to say about how fluff often trumps substance on television.

2) All the President's Men (1976) - This is like the Godfather of journalism movies. It permanently mythologized the Washington Post's Ben Bradley, Carl Bernstein and Bob Woodward and brilliantly recreates the uncovering of the true nature of the Watergate break-in. It's a tribute to this iconic film's writing, acting and directing that there's so much suspense surrounding a result that most viewers go in knowing. Redford shows new depth as Woodward and Hal Holbrook will always be Deep Throat to me, making badass ominous statements in the scariest parking garage ever.

1) Fletch (1985) - Easily one of the coolest investigative reporters ever captured on film, Chevy Chase's trademark character was (and remains ) and idol of mine throughout my adolescence. He's always taking big risks and nearly getting himself killed and yet he remains one step (and a one-liner) ahead of virtually everyone he meets. Remembered now as a classic '80s comedy, Fletch is also a great mystery movie in which Chase is convincing as an inventive journalist of the best kind. He gets his story -- no matter what.

Thursday, December 25, 2014

Merry Christmas! It's my top 10 favorite holiday movies of all time.

National Lampoon's Christmas Vacation
Merry Christmas -- and bah humbug. I like holiday movies just fine. I only tend to lean more towards the edgier, more cynical fare (with some exceptions of course).

I don't like Love, Actually and while I can appreciate A Christmas Story for what it is, it was never a family favorite of mine, and so it hasn't been a tradition for me to watch it every year.

For the record, we always binge-watched Muppet Christmas Carol and National Lampoon's Christmas Vacation in my house. And we also indulged in whatever TV marathons struck our fancy -- James Bond on TBS (or was it TNT?) was always a particular favorite.

My list also includes movies that aren't specifically holiday-themed, they just happen to take place during that season so I tend to associate them with this time of year.

For instance, there has been considerable debate over whether Die Hard counts as a holiday film. To me, there's no question. It's definitely appropriate for the whole family -- as long as they're badass. But I digress, here are my top 10:

10) Scrooged (1988) - A very 1980s, sort of corporate take on the Ebenzer Scrooge story, with a particularly nasty Bill Murray pulling out all the stops in the lead role. I've written recently about how my position on this movie has evolved over time. It's definitely not subtle. But I like its mean streak because it keeps the movie from tipping over into maudlin sentimentality.

Will Ferrell in Elf
9) Planes, Trains & Automobiles (1987) - Technically this is a Thanksgiving movie since Steve Martin and John Candy's odd couple of stranded travelers are trying to get home for that family friendly holiday, but it works for Christmas time too. Martin and especially Candy are brilliant as two beleaguered guys forced together through bad luck and poor public transportation. There is genuine pathos in their evolving relationship.

8) It's a Wonderful Life (1946) - Sure, this movie is often held up as an example of classic Hollywood at its cheesiest. But forget the beautifully timed happy ending for a moment, and you'll see that this film is actually quite dark. And I'm not just talking about the fact that the entire plot hinges around the potential suicide of the lead character. This Frank Capra masterpiece has some profound things to say about class.

7) The Muppet Christmas Carol (1992) - One of the most sophisticated and technically impressive Muppet productions does another charming spin on the Scrooge story. While the movie sticks close to the Charles Dickens original -- it also injects the movie with just the right amount of madcap Muppet magic. Michael Caine is a considerable aide to the production, acting without irony alongside Kermit, Miss Piggy and the standouts in this movie -- Gonzo and Rizzo the Rat.

6) Batman Returns (1992) - This second Tim Burton Batman film boasts a dream cast -- Michael Keaton as the Caped Crusader, Michele Pfeiffer as the best Catwoman in screen history and Danny DeVito as the distinctly deplorable Penquin. The movie sets a gorgeously macabre Christmas mood with some very dark plot elements for a comic book film. Not expressly about the holidays but aesthetically full of nods to the season, this ambitious blockbuster has only grown in stature.

Batman Returns
5) Bad Santa (2003) - Billy Bob Thornton has never had (and maybe never will have) a better role than his raunchy, acerbic title character in this uproariously funny comedy. I love a movie that delights in being crude and politically incorrect -- as long as it's hilarious. The movie has a field day with destroying the conventions of the traditional holiday film.

4) Die Hard (1988) - Some consider this Bruce Willis vehicle the greatest action movie of all time -- it certainly has a case to make. Willis's NYC cop was just going to make a quick stop at his wife's work holiday party before they try to reconcile over the holidays. Little did he know he'd get drawn into an elaborate hostage-heist situation! Ho-ho-ho, now I have a machine gun.

3) Elf (2003) - This film remains Will Ferrell's biggest hit and for good reason. He gives such an infectious, gloriously silly performance in this comedy about a human raised in the North Pole as an elf, that people of all ages can appreciate it. Always a gifted physical comedian, Ferrell uses his giant frame to great effect but he also manages to be quite believable as the most naive and loving individual on the planet. Only Ferrell could sell a line like "smiling's my favorite" for the peak comedic payoff.

2) National Lampoon's Christmas Vacation (1989) - There are so many pleasures to experience in this perfect, now 25-year-old, comedy classic. All hail Chevy Chase's inspired slapstick, his manic meltdowns ("We needed a coffin -- I'm sorry, tree!") and his genuinely moving moments -- such as when he assures Cousin Eddie's hillbilly daughter that Santa Claus really is on his way. But the whole ensemble cast works wonders too. Especially Randy Quaid's sublimely moronic Cousin Eddie, who's explanation of the plastic plate in his head (and pretty much every scene he has opposite Chase's Clark Griswold) leaves me in stitches.

1) A Charlie Brown Christmas (1965) - I know, I know -- it's not really a film. It's just a half hour Christmas special, but I happen to believe this sensitive and smart tale about "the true meaning of Christmas" did a lot to shape my character as a child. I have been moved to tears by Charlie Brown's depression and plea for acceptance; and his decision to embrace a wilting Christmas tree is awe inspiring. I can't skip my boy Linus, with his sage wisdom, or Lucy, with her distinct brand of diva-dom. There is a reason this little miracle of a movie has endured all these years -- because it's perfect and it actually, for a brief moment, makes me buy into all the sappy stuff that people love about the holiday season.

Wednesday, December 24, 2014

'Lady Sings the Blues' and what might have been for black film

Re-watching Lady Sings the Blues, the excellent though apparently wildly inaccurate 1972 Billie Holiday biopic, is something of a bittersweet experience because it reminds me of what might have been when it comes to black cinema at the time.

The film, produced by Paramount, is bolstered by beautiful costumes, sets, music -- and a cast to die for. Diana Ross, against the odds, gives a riveting and very physically demanding performance as the drug addicted but soulful Holiday. Billy Dee Williams oozes sex appeal as her love interest (although the scripts calls for him to be uncomfortably patronizing at times) and Richard Pryor is heartbreaking as her loyal "Piano Man."

Along with the same year's black-themed Sounder, Lady Sings the Blues scored a handful of Oscar nominations (including a richly deserved one for Ross) and seemed to be indicating a renaissance of classy, thoughtful black movies.

Unfortunately, though, most of the decade was swamped with blaxploitation, which aside from some brilliant sidekicks and the occasionally iconic movie (Pam Grier's Coffy, for instance) -- were largely a waste of their stars' talents and now only serve to provide kitsch value.

The black filmmaking boom that Lady Sings the Blues signaled didn't really come into fruition until the late 1980s and the movie stars, for the most part, never lived up to their potential either. Ross followed up her galvanizing performance here with the campy Mahogany and the cult hit The Wiz, whose most ardent defenders must admit she was miscast for. Williams, of course, gave an iconic performance as Lando Calrissian in two blockbuster Star Wars sequels, but his career post-Lady Sings the Blues was sadly more misses than hits.

Billy Dee Williams' memorable megawatt smile
Pryor showed in this film, and later in 1978's classic Blue Collar, that he could be a really compelling dramatic actor if he wanted to be, but he largely stuck to broad comedic roles. And although he struck gold in at least two of his pairings with the great Gene Wilder, his movie career was largely middle of the road.

Motown, the music studio, came to Hollywood as Williams once put it, "not to make black movies but to make movies with black stars," but sadly, the financial failure of The Wiz prematurely ended that dream in the late '70s.

Still, there is much to look back on with awe. Lady Sings the Blues is romantic melodrama at its finest. While Ross has never been hailed as a supreme vocalist, she brilliantly approximates Holiday's unique singing voice and the music always serves as a deep commentary on the story. And her chemistry with Williams is undeniable.

The scene where she gets booed for not accepting tips in a nightclub (in a crude manner that I won't spoil here) and he offers her his money in kindness with the smooth as silk line: "Do you want my arm to fall off?" -- followed by a buoyant rendition of "Them There Eyes" -- is one of my favorite sequences in any film, period.

Diana Ross as Billie Holiday
The movie also does an incredibly effective job of portraying drug abuse. Scenes of people strung out can feel very artificial if they're not done right. Here, Ross does a phenomenal but subtle job of conveying the varied stages of addiction. Her large expressive eyes are in particular used to great effect as is her incredibly petite frame.

Also, the film does not shy away from race. Holiday endures segregation and encounters with the Ku Klux Klan. She is repeatedly rejected for more inferior singers who happen to be white. And she seems perpetually doomed even when her career appears to be on an upswing. That's part of why the final shot of Williams watching her perform at Carnegie Hall is so powerful. His expression of joy gives way to a sense of wariness. It's only a matter of time until she falls again.

Don't let that downbeat tone dissuade you from seeing the movie though. It's one of the great musical biographies of all time and evidence of what black cinema can be when it's realized at its finest.

Sunday, December 21, 2014

'Boogie Nights': 10 reasons it's one of the best films of 1990s

Last night I did a revisit with P.T. Anderson's breakout film Boogie Nights because my girlfriend had never seen it.

I've always admired the movie for its ambition, brilliant performances and flawless editing but after viewing it with fresh eyes I'm convinced it's one of the best films of the 1990s.

Shockingly it wasn't even nominated for best picture at the Academy Awards in 1997, the year it came out. The safe (and I think forgettable) blockbuster Titanic triumphed that year instead.

Boogie Nights -- with complex and immaculately detailed plotting and character dynamics -- went 0 for 3. A travesty in my opinion.

Burt Reynolds and Julianne Moore definitely should have won for their powerful portrayals of the patriarch and matriarch, respectively, of a kind of ersatz porn industry "family" -- but the movie is stacked with phenomenal acting from one of the most top-notch casts ever assembled. Here are 10 reasons why it's a masterpiece:

1) The soundtrack: Instead of just playing the perfunctory, obvious '70s songs that every period movie uses, Anderson digs deep with his selections and comes up with an incredible tapestry of moods and sounds that always accent the emotions or scenario, instead of distracting from it. The same thing goes for the costumes, they are appropriate but never silly.

2) The editing: Anderson's camera is so fluid here and there are some truly sublime single-take tracking shots that have to be seen to be believed. I never felt like he was showing off though; his flashy editing and dynamic staging always serves the story. That said, there are some of the most breathtaking cuts and pans in this movie that I've ever seen. It's a fast paced 2 and 1/2 hour film and the amount of information and emotion it's able to convey with a simple shot is awe inspiring.

3) The structure: The film is essentially two halves -- three years on either side of 1980 (the midpoint is marked with one of the most devastating moments of the movie). The years 1977 to 1980 are full of excitement as Mark Wahlberg's Dirk Diggler makes his ascent in the adult film industry. The second half of this film is his character's (and most of the others') long slow descent into tragedy. There are occasionally titles which effectively put you in a place and time without manipulating how you feel.

Hoffman and Wahlberg in Boogie Nights
4) The cast: Speaking of Wahlberg. I can't say enough good things about his performance or the rest of the cast's contributions. With the exception of Reynolds, this was my first time getting real exposure to actors like John C. Reilly, Heather Graham (who is quite excellent here), Don Cheadle, and Philip Seymour Hoffman. Wahlberg gives a very smart performance as a pretty dumb, callow character. Moore is heartbreaking as a woman estranged for her child who's trying to be a mother to everyone to make up for it. Meanwhile, Reynolds shows great depth and pathos as a porn director who wants to be taken seriously. And I haven't even mentioned William H. Macy yet...

Anderson is a great admirer of Robert Altman, and that really comes across here. It's a real ensemble film, where everyone has true character development and a chance to shine.

5) The story: Anderson had the guts to make a serious and yet unpretentious movie about the porn industry. He neither glorifies it nor vilifies it, which may be why more uptight critics 17 years ago didn't know how to feel about the film. And the porn stuff is just a part of the story. These are earnest working people trying to make a name for themselves, trying to feel wanted and special.

The film's wide array of characters and plots make the film feel like an all-encompassing statement of a time period that was both glamorous and incredibly naive -- the late '70s and early '80s. In doing so, it feels like one of those great epic films like The Godfather or Citizen Kane, which seem to be not just about their time but all times.

6) The films within the film: One of the great pleasures of Boogie Nights is the perfectly staged fake films within the film, such as the stilted porn movies with their inane names or the self-serving documentary starring Diggler which Moore's character puts together as a tribute to him. It's a master class in intentionally bad acting (John C. Reilly in particular is a genius at this) and also a great way to convey the sincerity, albeit misplaced, of the characters.

Moore and Wahlberg in Boogie Nights
These characters think they're making art, which makes their failures more pathetic, and more engaging.

7) The humor: The film has some terribly dark scenes and themes -- but the more troubling aspects of the film never prevent it from being wildly funny. Characters often say and do idiotic things but are totally oblivious to their absurdity, which is almost always ideal in comedy.

This is never more true than in the scenes featuring Reilly and Wahlberg trying to get their nascent music careers off the ground. Both actors bravely allow themselves to look ridiculous so that we can all enjoy "Feel My Heat" all the more.

8) The sex: There are horribly disturbing and uncomfortable sex scenes in Boogie Nights and there also genuinely erotic moments as well -- as there should be in a movie with this film's breadth and depth. This is one of the many wonders of the Moore performance. In one scene she's making love to Wahlberg's character in a porn film and yet treating him with the tenderness that a mother would her child. It's a surreal scene and yet she imbues it with so much realism.

9) The pure crazy: Even after all these years, Boogie Nights has not lost its ability to shock me. It's not just its matter-of-fact portrayal of porn films though, it's the sudden bursts of violence, plus the very plausible use of coked up characters. Take the much-talked about denouement that features Alfred Molina as a drug-addled dealer in a bathrobe singing along with his "awesome mix tape" as a young Asian boy randomly sets off fire crackers. In another film this scene would seem perfunctory and indulgent, but here it feels like a plot point too specific not to be true.

10) The ending: Despite plunging headlong into darkness -- Boogie Nights ends on a truly moving glimmer of hope. As Reynolds character glides throughout his inviting California home and touches base with all of the personalities we've come to know and love, there's a sense of familial bonds that can't and won't be broken. I am still on the fence about the very last shot. SPOILER ALERT: I have never felt like you needed to see Diggler's member, but there's a way to interpret it that serves the story, too. At the end of the day, that's all he is and that's all he has to offer to the world.

Ok, maybe the ending isn't so happy.

Sunday, December 14, 2014

Chris Rock finally gets real with the uproarious 'Top Five'

Chris Rock and Rosario Dawson in Top Five
Top Five is far from a perfect movie but it's the first Chris Rock movie that captures the genius spirit of his stand-up, which make it one of the more enjoyable comedies of the year.

Rock is easily the best stand-up comic of his generation, an art that has sadly been diminished in the last few decades.

When he was at his peak, there was no one funnier or more incisive in American comedy than Rock, but when he went into movies -- which was inevitable -- he almost never delivered on his promise.

Part of the problem was Rock himself. He was never believable playing a character, because he wasn't a natural actor -- and he still isn't. But Top Five gives him his most effective screen presence to date because like his idol Woody Allen, he's cast himself as essentially an exaggerated version of himself.

In fact, Top Five very closely resembles Allen's own 1980 film Stardust Memories, in which he plays an accomplished comedy filmmaker trying to be taken more seriously by his fans.

Rock and his on-screen alter ego have a similar dilemma. He sold out long ago playing an absurd character called "Hammy the Bear" and is stuck in an unfulfilling relationship with a reality TV star (a surprisingly good Gabrielle Union).

The frame of the film is that Rock's character is being profiled by a New York Times reporter (a radiant Rosario Dawson) who is trying to find out why the ex-alcoholic comedian lost his way. Amid their byplay, Rock's character is promoting his first attempt at a drama film, a Haitian slave rebellion epic called Uprise.

There's a lot going on there, and the movie often trips over its own ambitions. Some of the material is fairly sexist or uncomfortably crude -- but much of it is also raw and revealingly honest, which is refreshing. Chris Rock isn't trying to be safe or likable in this film and he isn't ceding the spotlight to someone who isn't as clever as he is like Adam Sandler (although his ex-SNL co-star does have a very amusing cameo).

The movie is teeming with his passions -- for hip-hop, for comedy of the past and present, for sex and relationships. And it feels like the first time he's ever gotten personal on-screen.

That said, the film's flaws are plentiful. As lovable as she is, Dawson may be the most unrealistic and unprofessional journalist I've ever seen in a film. A scene of police brutality may have been intended for laughs -- I'm not sure -- but it reads as unpleasant in the wake of Eric Garner. The movie can occasionally be grating -- Rock hasn't found a consistent style or rhythm as a director. And yet, it has some very big laughs in it. And unlike most of the comedies this year it doesn't feel like a product that was hatched in a studio boardroom.

There's a cameo late in the film that I won't spoil -- but I will say that it's one of the funniest I've seen in years, and it involves a celebrity giving Rock's character props for being uncompromising. It could read as indulgent, as could much of the film -- but it actually works in Top Five because the movie is not a vanity project, it feels like a mea culpa to Chris Rock fans who miss his past no-holds-barred truth telling and also an opening salvo for a new stage of his career as both a filmmaker a performer.

There is much to love about Top Five, as a hip-hop fan, as a New Yorker and as a historian of black comedy. It may be a little messy at times -- the alcoholic subplot is not entirely convincing -- but it's full of ribald energy and memorable zingers. There are hilarious moments from Rock's crew of comedic friends from Jerry Seinfeld to Tracy Morgan and observations that only Rock could make -- like how the original Planet of the Apes may have inspired James Earl Ray to kill Martin Luther King.

The movie is also taking a side against Tyler Perry movies and the rest of what passes for black comedy these days. I have no idea if it'll be a success at the box office, but I'm grateful that Rock made it and I hope he's got the guts to go deeper.

Thursday, December 11, 2014

Christopher Walken's five spookiest performances

Christopher Walken in At Close Range
Christopher Walken has been unfairly typecast as a "creepy" actor. This may be because the role that made him a movie star -- his Oscar winning role as a Vietnam vet who becomes a zombie-like professional Russian roulette player in The Deer Hunter -- cemented his status as a guy with a screw loose.

But aside from his unconventional looks and distinct, fun-to-imitate speaking style, he is actually a very charming and endearing character actor.

His villainous or spooky roles are some of his most iconic, but he has also been just as compelling in more sympathetic performances, like his Academy Award nominated turn in 2002's Catch Me If You Can.

The 71-year-old returned to the public's consciousness this month because of his eccentric performance as Captain Hook in NBC's live prime-time Peter Pan musical and I started thinking about his filmography again after watching his excellent performance as a particularly sadistic bad guy in the underrated 1986 drama At Close Range. Here's my top five:

As the iconic Frank White
Annie Hall (1977) - The first time most audiences saw Walken was in a brief, darkly funny cameo in Woody Allen's best picture winning masterpiece, Annie Hall. He plays Diane Keaton's morose brother Duane, who confides in Allen's character that he sometimes fantasizes about driving into oncoming traffic. His delivery of this scene, deadly serious and yet also hysterically funny, established Walken as one of the best deadpan psychos in movie history. Allen's reaction -- that he has to go because he's "due back on planet Earth," still makes me laugh as does the smash cut to his petrified face as he must ride along with Walken's character in a rainstorm.

The Deer Hunter (1978) - Most film buffs remember Walken's performance in the latter half of this epic Vietnam war film best, when his character Nick has given way to madness. But his character's arc may be this powerful film's most compelling. He starts out as a dreamer only to see his spirit crushed by the horrors of war. Walken won a best supporting actor award (appearing in back-to-back best picture winners to boot) and broke America's hearts. Spoiler alert: the scene where he dies in Robert De Niro's arms is a real heartbreaker, as is an earlier moment where he breaks down in tears while being interrogated at an army hospital.

The Dead Zone (1983) - Walken finally got to play an unabashed hero in this thrilling David Cronenberg adaptation of a Stephen King novel. Still, his role and the movie itself are chilling. He plays a man who gains the ability to visualize the likely death of any person he touches (following a near death accident of his own). Walken gives one of his best, most soulful performances in this creepy thriller, but he also has that unusual face and delivery, which keeps the entire story feeling off-kilter. An underrated masterpiece.

At Close Range (1986) - After The Deer Hunter, this acclaimed character study may be the movie most responsible for Walken's reputation for playing crazy characters. This powerful, shocking film portrays a real life hood (played by Walken) whose son (Sean Penn, in one of his best early performances) earnestly tries to join his father's gang and gets far more than he bargained for. Walken is supremely disturbing here, grinning like a cheshire cat one minute and snapping with cold, brutal, vindictive violence in the next. His scenes opposite Penn in this dark drama are an acting master class.

King of New York (1990) - Walken makes for the most unlikely icon of urban cool in this classic gangster epic which influenced a whole generation of hip-hop fans, including the late Notorious B.I.G. who famously compared himself to Walken's character Frank White in song. He is all chilly menace in this very-90s film, leading an all-black gang, including an against type Laurence Fishburne. After this role, Walken's performances largely fell into the realm of self parody, but this film was where his oddball persona reached its peak and his subsequent Saturday Night Live appearances proved that he was in on the joke.

I remember once reading that Walken literally takes every role he is offered because he considers every part to be a potential learning experience. I have no idea if that's actually true, but I love that he is the kind of actor where it could be true. Walken has appeared in countless films, most of which were beneath his talents, but every once in a while he strikes gold -- and when he does it's riveting fun.

Sunday, December 7, 2014

I finally got 'Scrooged' (and I liked it)

Bill Murray in Scrooged
Although I am an enormous Bill Murray fan I had never warmed up to Scrooged.

The first time I saw it I downright disliked it. And when I recently compiled my list of the top 10 Murray movie performances, I never gave it serious consideration.

Murray has played jerks before but his character in Scrooged is his most aggressively obnoxious. I also thought the movie was a little too bombastic. It was more abrasive to me than funny.

But this weekend I decided to revisit the film, since it was streaming on Netflix, and because I found it hard to believe I could not appreciate a hit Murray movie made during his '80s prime.

I am happy to say that on second viewing, I loved Scrooged. I was able to enjoy its nastiness and its jarring tonal changes. It was a movie I studiously avoided as a child (I remember being petrified of the trailer back in 1988). And yet now I think it may just become a holiday staple for me.

Why the about face? I suppose I was in the mood for a more macabre Christmas movie, which Scrooged most certainly is. Even though it's directed by Richard Donner (Lethal Weapon, Superman: The Movie), it has all the hallmarks of a classic Tim Burton film. The musical score is provided by Burton regular Danny Elfman, the set design is classic horror comedy and the shot selection is also positively Burton-esque.

This scene would have terrified me as a child
The movie came out at an interesting time for Murray. After the blockbuster success of Ghostbusters, he was the biggest comedy star in movies save for Eddie Murphy. And yet he decided to relocate to France for essentially a four-year sabbatical after it was released. He made one small, very funny, cameo in the 1986 film Little Shop of Horrors. But other than that, Murray was AWOL at the height of his career as an A-lister.

Scrooged was his triumphant return to the big time, and the combination of Murray opposite ghosts in a reboot of a classic holiday story was the perfect recipe for a surefire hit. Still, Scrooged was not a success on the level of Ghostbusters, whose sequel he would star in the following year, and a lot of critics were far from kind to it. Despite it's warm and funny finale it's a deeply cynical movie and it gets its sarcastic heart from infamously cantankerous former SNL writer Michael O'Donaghue.

I guess also can appreciate its charms more now in light of the cheesy holiday movies that have come in its wake. Yeah, I'm looking at you Love, Actually. I don't go for these treacly romantic movies where people do improbably adorable things by the fire. I'd rather watch something with a little edge to it, maybe something that's even a little crass.

That Scrooged certainly is, with its very savage parodies of 1980s television and a Murray performance that is loose, wild and for better or worse very committed. If you're not a Murray fan, steer clear of this one. And if you'd rather hear about angels getting their wings this time of year this isn't the movie for you.

But as more of Bad Santa/Christmas Vacation kind of guy, it put me in a happy mood. It actually does a really nice job of modernizing the whole Ebenezer Scrooge tale, and for Murray fans, it's a more personal movie than you might think. His real life brothers play three roles in the film. And the rest of supporting cast, including the always underrated Alfre Woodard, help keep the movie from ever being maudlin.

Stay tuned, my definitive favorite holiday movies list is on its way.

Friday, December 5, 2014

'Big Wednesday' could actually be called 'White Privilege: The Movie'

It's a weird experience watching the 1978 film Big Wednesday -- a nostalgia soaked homage to white America's loss of innocence in the 1960s -- in the wake of what's going on in the real world right now.

It's not that the movie is terrible, it has its charms and some really glorious surfing footage (the film's writer-director, John Milius, is an aficionado of the sport), but the movie features a lot of content that really reminded my that we truly live in two Americas.

For instance, although the movie is set in the '60s, there isn't a single mention of civil rights and there is barely a single black person in it. The three leads are white, blonde, tanned jocular types who party and carouse all day without a care in the world.

In the first third of the film the three lads (played by '70s staples William Katt, Jan-Michael Vincent and pre-meltdowns Gary Busey) throw a raucous, no holds-barred beach party. This lily white affair features girls getting wrestled, a house being virtually torn apart and plenty of 'good-natured' fistfights.

When I watched this seemingly harmless scene, in the aftermath of the Eric Garner and Michael Brown grand jury decisions, I couldn't help but think to myself -- what if the characters on screen were black? Would this unbridled hedonism and mayhem be interpreted as fun or would it be deemed repellent and even scary.

In my estimation, the cops would have been called 15 minutes into the proceedings, where in this film white lawlessness is met with a "boys will be boys" shrug. Later in the film one of the main character's girlfriends reveals that she's pregnant with an almost whimsical smile. The news doesn't plunge anyone into a panic, as if it's presumed that child will almost certainly be provided for.

Katt, Vincent and Busey in Big Wednesday

Milius, who has made no bones about the fact that he is a reactionary conservative, no doubt enjoyed this kind of lifestyle and to this day right-wingers talk about our pristine untroubled past as something we ought to return to. But as an African-American, when I watch movies like this about characters who needn't be troubled by prejudice or classism, I think I am so glad I wasn't alive then.

Sure the Vietnam war and other factors darken our heroes trajectory but they never face a monolith on the level of institutional racism. But of course that was going on that time. And while these California surfer dudes were having the time of their lives crossing over the border into Mexico, black and brown people were being oppressed to a stunning degree.

In the movie's defense, it was made in 1978 -- a time that was arguably far less contentious than the one we currently live in. The top films that year were movies like Superman and Grease, so light entertainment was very much in keeping with the spirit of the times.

I guess I am just less interested in being amused these days. After Eric Garner and Michael Brown, I'm in the mood for movies that reflect that reality of life, the struggles and the tension of the everyday grind. Escapism can be great, but at the end of the day you escape the pain of living in a racially polarized society.

Thursday, December 4, 2014

'SPECTRE': Why I'm beyond euphoric about the next Bond movie

Daniel Craig as Bond in Skyfall
As one of the biggest James Bond fans on the planet I would be remiss if I didn't weigh in on the exciting news about the next adventure in the 007 series.

Although we will sadly have to wait until next November to see the new film -- entitled Spectre (more on that in a minute) -- I am almost positive it's going to be great for a plethora of reasons.

First off, I should preface what I'm about to say by making it clear that Skyfall is probably my favorite Bond movie off all time. I'm saying probably because, let's face it, there're several excellent entries in the 40-year plus canon.

But for me, Skyfall brilliantly continued what Casino Royale started (which was derailed by the disappointing Quantum of Solace). Skyfall managed to revitalize this iconic character and almost redefine, while at the same time retaining, all the elements of the series we fans have grown to cherish.

We always took Q, M, the gadgets and the girls for granted, but the Daniel Craig era has given them a backstory and supplied a genuine pathos that wasn't even present during the widely hailed Sean Connery era.

I for one was incredibly relieved to see that the same writing team and director (Sam Mendes) from Skyfall are returning for Spectre. The ending of Skyfall beautifully set the stage for a direct sequel, with Ralph Fiennes taking over the reins as M and Naomie Harris entrenched as the new Moneypenny. And now that the principle cast has been revealed, I'm positively giddy.

Monica Belucci
With all due respect to the very lovely Lea Seydoux (of Blue Is the Warmest Color fame) the Bond girl I am bananas about is Monica Bellucci. She has long been one my biggest celebrity crushes of all time and it's actually rather galling that she hasn't made an appearance in this series before. She is almost a throwback to the days of Ursula Andress and Barbara Bach, without any of the uncomfortable sexism of the olden days. I have no idea what part she is playing or how big it will be. But I can't wait to see her.

The casting of Christoph Waltz is also note perfect. Although, like most Bond productions, the nature of the role the Oscar winner is playing is wrapped in mystery. But I think it's safe to say, considering his track record, he will probably be playing the film's villain.

After Javier Bardem's Oscar worthy turn as the bad guy in Skyfall, I can't think of a better actor to follow in his footsteps. I was also excited to see that David Bautista, who proved to be one of the highlights of Guardians of the Galaxy, is also going to be co-starring in Spectre.

Finally, let's talk title. I'm sure some folks are scratching their head over this one, but die hard Bond aficionados are very familiar with the moniker. SPECTRE, which stands for "Special Executive for Counter-Intelligence, Terrorism, Revenge and Extortion", was a shadow organization which served as the principle villain in a handful of the first Bond movies. The figurehead behind SPECTRE was Ernst Stavro Blofeld, one of, if not the best, 007 bad guy of all time.

It's still unconfirmed whether Blofeld will make an appearance in Spectre, some are even speculating that this will be the Waltz character, but it'll be exciting to see the usually bald-headed, cat stroking villain re-imagined for a new generation.

One of the best things, if not the best thing, about the Bond movies is how they both stick to tradition but also (when they're good) tap into the zeitgeist. With Mendes at the helm, Craig in the lead and the cast of Spectre in place, this action hero's legacy looks secure to me.

Sunday, November 30, 2014

Why you're right to be psyched about the new 'Star Wars' teaser

John Boyega in 'The Force Awakens'
An endless amount has already been written about the first teaser trailer for next year's Star Wars sequel The Force Awakens -- and let me add my voice to the chorus.

Star Wars obsessives have now become black belts at spotting flaws in what was once the most beloved sci-fi series of all time.

This can get tiresome and self important, except when it comes to the prequels, where the complaints were largely right.

Save for a few moments towards the end of Revenge of the Sith, the last three Star Wars films were a worthless waste of talent, money and good will. Those films had to meet unreasonable expectations but they also could have easily been better. I've often fantasized that one day those movies would be remade by filmmakers with less self-hate than George Lucas, but in the short term all our hope must be placed in director J.J. Abrams.

The Force Awakens
I feel hopeful about that. Abrams did wonders with the Star Trek franchise, and while his two entries in that saga certainly have their detractors (mostly among purists), few could deny that he revitalized those characters and their mystique. Star Wars desperately needs a fresh take (lightsaber duels are now met with yawns instead of gasps).

And although the new trailer gives us very little plot, character or detail, it promises enough to get me to line up in 2015 for this guaranteed blockbuster.

Here are the first things that struck me. The sense of urgency. The prequels were practically glacial compared to the footage we see here, which doesn't include boring Galactic Senate maneuvers or stilted dialogue. The panic on John Boyega's face (the breakout star of the terrific sci-fi comedy Attack the Block) riveted me immediately. I also appreciated seeing a new unfamiliar face, although I can't wait to see Han and Chewie back in the Millennium Falcon again.

Speaking of which, the greatest ship in sci-fi history makes a breathtaking return in this teaser. The context is still unknown -- but who cares, to see that "hunk of junk" back in action brought goosebumps. The voiceover, which some speculate is provided by Swedish acting legend Max Von Sydow, is appropriately moody and ominous, as is the sword-like triple-bladed lightsaber.

Of course, the prequel trailers got me excited too, and each film ended up a disappointment. The difference here is that The Force Awakens, for better of worse, will be new. It's the first Star Wars film where the series' creator, Lucas, will truly be on the sidelines, and that's a good thing.

Lucas decided long ago that the Star Wars movies were his own personal play set. He decided the films should be aimed solely at children, although he wrote dialogue even kids could find laughable. He tinkered with his films endlessly to the point where they became a pristine CGI blank slate. The prequels produced no memorable, indelible moments or images -- and when they did achieve anything resembling greatness it was by reminding us of "the old Star Wars movies."

Abrams is an original filmmaker who also appreciates the tactile appeal of lived in, model-based sci-fi. There will be CGI in The Force Awakens, that's already apparent in the teaser. But he knows how to use it sparingly and make it serve the scene. This film won't look like it's all taking place in front of a green screen. The promise of a fresh take on this familiar material is enough to get me intrigued.

And the return of the original series characters: Han, Luke and Leia (although I am still angry they snubbed Lando), should be the icing on the cake.

Saturday, November 29, 2014

'Whiplash' will restore your faith that this can be a great year for film

I've always regretted the fact that I didn't keep up with playing an instrument. I had aborted dalliances with the clarinet, saxophone and the trumpet. I probably could have been good but I hated practicing. My regret came washing back over me as I watched the dynamite new character study Whiplash.

If you can get past some of the utter ludicrousness of the movie -- it presents a college jazz competition as extremely high stakes, even violent combat -- you'll be wildly entertained. Even though the movie is not stacked with special effects, it's a real thrill ride, thanks largely in part to the naturalistic performance of Miles Teller in the lead role and the go-for-broke, surefire Oscar-worthy performance of J.K. Simmons.

Teller plays an earnest would-be drummer prodigy who is socially awkward and prone to make mistakes. Still, he has natural talent and drive, he just needs to harness it. Simmons, as his would-be teacher and mentor, shows up to help him do just that, albeit in a foul-mouthed, abusive and downright manipulative manner.

Their relationship takes turns that aren't exactly realistic, but are nevertheless utterly compelling. I've never seen Teller in a film before, but he has the makings of a major star. He is attractive in a totally unassuming way and he never seems to be acting. There is a moment where he begins to cry that feels very authentic, not a "movie star cry".  He also has a romantic subplot that doesn't play out as you suspect it to. He makes a great, sympathetic lead.

Still, make no mistake about it. It's Simmons' movie. He has been great for years in small supporting roles and here he finally has a part where he can bring his unique set of skills to the table. He's a phenomenal physical presence, his hangdog face stands in stark contrast to his imposing physique. He is capable of vicious, sadistic cruelty one minute and tender geniality the next. Simmons' work here elevates the movie to another level, and in a latter scene when his character describes his contempt for mediocrity I was right on board with him.

Miles Teller and J.K. Simmons in Whiplash
A good friend of mine recently told me she felt this year hasn't been a great one for movies, and I think she's right. I've seen two transcendent masterpieces: Boyhood and Birdman. A couple very good films: Foxcatcher and Gone Girl. And another bizarre movie whose genius has yet to be appreciated: Under the Skin. Whiplash probably falls somewhere in the middle of the pack for me but that's in no way a putdown. It's a fully-realized, smart film that is never predictable and thrilling to the very last shot.

It deserves to be seen on the big screen where it's jazzy and relentless score can best be felt, heard and appreciated. It's a testament to this movie's greatness that it actually made me want to go home and research Buddy Rich albums after it was over.

Whiplash is one of those rare movies that really captures the joy and excitement (and yes, pain) of putting on a live performance. I have no idea if Teller is a musician himself in real life but he sells the hell out of drumming in this film. And Simmons takes what could have been a caricature and creates a real, tangible person who you can both fear and respect.

It may not be the best year for films, but it has been a solid year for acting. Michael Keaton, Steve Carrell, Patricia Arquette, Mark Ruffalo, Scarlett Johansson and now J.K. Simmons have all turned in what could arguably be consider career-best performances. And that's something worth celebrating.

Thursday, November 27, 2014

My take on early Oscar buzz: Let the campaign season begin!

Happy Thanksgiving. Although election season is behind us, a far more competitive campaign period is underway, that's right -- the road to Oscar. Although over a dozen contenders have still not even been released there are several movies generating a lot of buzz and even a handful of surefire nominees.

My two favorite films of the year, Birdman and Boyhood, seem like locks for nominations if not top honors but with no clear overwhelming favorite, this year's race could be wide open in several major categories. If you haven't already guessed, I am huge nerd about this stuff. I know it doesn't really matter in the greater scheme of things, but what the hell, I find it fun.

Best Picture: As has been the case for the last few years, the academy is still allowing up to 10 best picture nominees. It's all very complicated but depending on how many first place votes a movie gets we could wind up with only nine. I don't oppose the idea of a larger field -- the more quality movies that get recognition the better -- but usually it's still coming down to two or three movies come Oscar night and that is if there isn't a huge frontrunner.

This year it's hard to say what will be the film to beat. None of the most critically acclaimed films of the year has been a runaway commercial hit (which unfortunately matters a great deal in the race, with the rare exception of The Hurt Locker). My picks as of right now would be Boyhood and Birdman, but neither of these films is conventional enough for the win. I think Foxcatcher deserves a spot, but apparently it's somewhat divisive among the critics.

Some folks still see Interstellar making the cut, which surprises me. Even its fans must admit it's not Christopher Nolan's best work and yet there is a space for a commercial project here. Buzz is building for the Benedict Cumberbatch code-breaking thriller The Imitation Game and although it looks like another Beautiful Mind, the same goes for the Stephen Hawking biopic The Theory of Everything. The one wild card is the Martin Luther King film Selma, which could really shake up the race.

Best Actor: My personal pick, Michael Keaton in Birdman, is a lock for a nomination here. Steve Carrell looked like a sure thing for Foxcatcher but then some critics panned the movie. I still think he makes it because his performance is so transformational. Cumberbatch has been really buoyed by a growing fan base, I could see him joining this competitive field. If nothing else than because of the iconic nature of the MLK role, I think black British actor David Oyelowo has a shot for Selma. That leaves two spots. Eddie Redmayne will surely make the cut for his physical performance as Hawking, although I fear the movie will be unbearably sentimental. I wouldn't be furious if the final spot (which is very much up for grabs) went to Bill Murray for St. Vincent. I am a defender of this breakout indie hit. It's not the most original movie or the most profound, but Murray is really terrific in it and he deserves consideration.

Birdman
Best Actress: Another disappointing year for women's roles. The only real contender I've seen so far is Rosamund Pike for Gone Girl. As fun as she is in that movie, I don't expect her to seriously contend for the win. Most pundits are predicting a two-way race between the long overdue Julianne Moore (playing a woman experiencing the early stages of Alzheimer's in Still Alice) and Reese Witherspoon for her comeback role in Wild. I would say Moore has the advantage, having never won before and at least as far as the early reviews are concerned, giving the most deserving performance.

Best Supporting Actor: This could wind up being the most competitive category of the night. Edward Norton is a scene-stealing riot in Birdman and he's never won before. The same goes for Mark Ruffalo, who gives a moving and likable performance in Foxcatcher as the movie's most normal character. Everyone has been raving about J.K. Simmons scenery chewing performance in Whiplash. And then there's Ethan Hawke's endearing and epic performance in Boyhood. It's going to be really interesting to see how this race shapes up.

Best Supporting Actress: Speaking of Boyhood, I will freak if Patricia Arquette isn't nominated in this category. I just thought she, more than anyone else, was the heart of Boyhood. She was so real, it didn't feel like a performance. I sort of fell in love with her flawed but humane character. Emma Stone showed more chops than she has previously in Birdman. The rest of the category is still filling out, but rest assured, Meryl Streep will probably be there in some capacity.

Best Director: No matter what, Richard Linklater will be recognized for his historic achievement with Boyhood. Alejandro Gonzalez Inarritu is probably also a lock for trying his hand at comedy for the first time with the visually inventive Birdman. The rest of this category is still wide open. It'd be nice to see a woman in the mix -- Ava DuVernay for Selma. As much as I loved Gone Girl and think David Fincher has been snubbed repeatedly, I don't believe this is his year. I would say the same for Christopher Nolan. We might wind up with some unknowns, or an unheralded newcomer like J.C. Chandor (whose A Most Violent Year looks potentially great) could sneak in.

Nominations and the awards themselves are still months away, so get out to theaters and catch these quality films while you still can!