*NEW* SPOTLIGHT REVIEW *NEW*

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A slow burning, well-crafted and brilliantly acted little drama.

Spotlight is the true story of how the Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese. One that would shake the entire Catholic Church to its core.

An intriguing opening sequence piqued my curiousity as we witnessed a priest being released from the police station. No questions asked. A shrug from the police and two priests riding off into the darkness.

BUT after that promising opener, the first twenty minutes was a little too slow for my liking. I could feel myself slumping into the seat as we waited for the stellar news team to find their story. Once Marty Baron (Liev Schreiber – Ray Donovan) was brought to the fold and Spotlight’s sights were set on a priest, that was a repeat offender, I was hooked to the very end.

Schreiber was very good as the mysterious Miami media man. Taking on the Boston Globe and determined to use Spotlight’s abilities to their fullest. I wanted to see more of his performance. BUT it wasn’t his story. The Spotlight cast couldn’t be faltered. It’s great to see Micheal Keaton’s resurgence after Birdman. He played Walter ‘Robby Robinson’ with aplomb.

I felt every one had their moment to shine. I wasn’t sure why Ruffalo in particular was considered for an Oscar nomination BUT it was still a sterling turn from the Avenger. His anger coming to boiling point at the scale of this horrific cover up in a fantastic rant.

“Mitchell Garabedian. He’s a character”. I couldn’t think of anybody better than Stanley Tucci (Hunger Games) to take on the paranoid skeptic. A lawyer intent on getting justice for his clients. Treading carefully. Afraid that the Church are watching his every move. Not enough of him.

The lies, the cover ups. Afraid to mess with the Church. A “holy” institution that took advantage of so many. The statements from witnesses was harrowing stuff alone. Confused children sleeping with priests because they were afraid to “refuse” God.

Just when I couldn’t be more surprised at the stories and the statistics, the team would discover another revelation. One that was too close for comfort for one member of the team. Discovering that a treatment centre for “reformed priests” was located right around the corner from his home.

Rachel McAdams’ (True Detective) crazy confrontation with said “reformed” priest was baffling. Openly admitting to everything. John Slattery did his best BUT he will always be Roger Sterling from Mad Men. The office attire and quick witted one liners didn’t help his case.

The closing act, aided by more harrowing facts, really hit home. I couldn’t believe that the original news story was “buried” years before. And the scale. So many stories. The States being only the tip of the iceberg.

The pace may have tested in parts. BUT that didn’t spoil what was a harrowing and insightful drama. One that I never expected to be so engrossed in. All aided with a superb cast makes this one to watch.

4/5

DALLAS BUYERS CLUB REVIEW

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Alright, alright, alright.

In 1985 Dallas, electrician and hustler Ron Woodroof (Matthew McConaughey) works around the system to help AIDS patients get the medication they need after he is diagnosed with the disease.

An engrossing (and gritty) tale of one’s man fight for survival. I can’t believe this was a true story. McConaughey provided a stellar performance. Worthy of that Oscar gold.

What made this story more interesting was the fact that Woodroof was a homophobic redneck who had unprotected sex with drug users. The moment he revealed his diagnosis, he was soon ostracized by his friends and evicted from the trailer park. A somewhat darker Southern take on Philadelphia.

Woodroof was very much a man on the path to destruction. At first, it was quite difficult to empathise with him. His drug and alcohol abuse merely making his condition worse. He even stole the only FDA approved drug AZT.

“Screw the FDA, I’m gonna be DOA”.

BUT as his condition deteriorates, Woodroof has to deal with the bureaucracy of the US healthcare system and the FDA as he buys and sells unapproved FDA pills. Unapproved pills that are proving more successful in their trails than AZT.

Woodroof strikes up a business opportunity. Establishing a drugs membership, The Dallas Buyers Club, for struggling AIDS sufferers who aren’t getting the proper treatment. With his partner in crime, the transsexual Rayon (the Oscar wining Jared Leto), the pair work together to fight against the system and their expiry dates.

It was incredible watching the lengths that Woodroof went to. An unbelievable story. Yves Belanger’s cinematography created a gritty look that fitted the tone and mood of the piece. Great direction by Jean-Marc Vallee (Wild), a well written script adapted from an in-depth interview with Woodroof himself by Craig Borten and a superb cast consisting of Jennifer Garner (Alias) as the conflicted Dr Eve Saks, Dennis O’Hare (True Blood) and Steve Zahn (in a surprisingly straight faced role) made this one to watch.

The pace was slow burning BUT allowed everything to bubble along perfectly. Leto and McConaughey were a fantastic duo. I couldn’t believe Leto was in this. He was on scene stealing form. The pair really put their bodies on the line for the roles. They looked ill. It did ponder the question on how far actors should go for a role. McConaughey lost over 3 stone. Crazy.

Dallas Buyers Club marked a resurgent return for the man and he hasn’t looked back since with True Detective, Wolf of Wall Street and Interstellar filling his filmography, I think there will be more to come.

Endearing, intriguing, emotional, gritty. Not what I expected at all. BUT all the better for it. Definitely worth your time.

4/5

WOLF OF WALL STREET REVIEW

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The Boss is back with one drug induced beast of a movie. Bold, brash and bloody bonkers but better than ever?

Nah, but it’s one hell of a ride!

It’s relentless, outrageous and doesn’t give a f- This film is not afraid to rock the boat. It literally capsizes one! DiCaprio’s Belfort is a monster but Scorsese always has that ability to make them so god damn watchable and likeable.

From the get go, Belfort’s character is very reminiscent of Liotta’s Henry Hill from Goodfellas. He makes it explicitly clear that he is out to make money and doesn’t care who he’s gotta screw to get to the top.

The opening sequence was a perfect indicator of the madness that will take over your life for the next three hours. Midget tossing, shagging and enough drugs to kill Keith Richards. You feel like you’re on drugs watching this. It’s so frantic, it’s almost like you’re watching a demented Luhrmann flick.

I won’t say too much about the film’s plot. Firstly, you won’t believe me. It’s so intense that it seems to throw everything but the kitchen sink. In fact, it launches the whole god damn kitchen! The only problem was that after the first hour, it got exhausting, a little repetitive and overlong.

However, the writing is sharp and everything you could expect from the legend and  “soprano” Terence “Boardwalk flippin’ Empire” Winter. It’s incredibly dark, gritty, violent and funny as hell. There is one scene I don’t know how DiCaprio and Hill did it. I won’t spoil it but my God!

Rodrigo Prieto’s cinematography is fantastic to boot and makes such a dirty and murky world look so glamourous. The cast are incredible. Jonah Hill is fantastic. His massive teeth and his erratic behaviour were hilarious. I couldn’t tell if he was improvising in parts because DiCaprio’s reactions seemed too genuine.

Great cameo from Matthew McConaughey. He manages to make a memorable impression in five minutes, summing up the beautiful reality of working in Wall Street and the true corruption that it brings. Plus his little motivation chant is very funny.

The stunning Margot Robbie certainly made her presence known. Plus she can act. What? I couldn’t get over the faces that popped up in this. Jon Bernthal (Shane from the Walking Dead), Jean Dujardin (The Artist), Jon Favreau, the movie legend that brought us When Harry Met Sally and This is Spinal Tap, Rob Reiner (on comic form) and Joanna Lumley.

However, plaudits must go to Leonardo DiCaprio. A tremendous actor who manages to stand out in a sea of talent. Proving why he is one of the best actors going. You can see why Scorsese has made him a regular. Even when the film may dip in pace, DiCaprio carries it every time. Bravo.

It was also good to see Kyle Chandler. An underrated actor in my opinions. Friday Night Lights fans will agree. A much needed injection as the second hour approached. He worked well with DiCap. A perfect catalyst with much needed tension and top notch banter.   

One little gripe. I can’t believe Winter had the cheek to steal a line from one of my favourite films, Heat. “Who? Who? What are ya? A fucking owl”.

It was always going to be tough for Scorsese to top such iconic films as Goodfellas, Casino, Raging Bull and Taxi Driver. His last few films have been good but lack that edge (except Shutter Island).

I still believe that Scorsese was given the Oscar for the wrong movie. The Departed was one of his weaker entries. But in a way, it must be the universe amending such a big mistake for Goodfellas.

Wolf of Wall Street may look like it has that edge but it’s just too ridiculous and exhausting that I was a little relieved to see the ending. That’s the problem with Scorsese flicks. There’s only ever two outcomes. They get away with it or they don’t.

Brilliantly shot, brilliantly acted and bloody bonkers. A little exhausting and overlong. Scorsese’s best? Nope BUT definitely worth a go.

3.5/5

AUGUST: OSAGE COUNTY REVIEW

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Behold, an Oscar candidate. A proper one. A perfect showcase in sheer acting. I may have said that a few times now but this one takes the cake.

Brilliant, bold, riveting drama with the best acting ensemble I’ve seen in some time. Meryl Streep once again demonstrates why she still rakes in the nominations. Phenomenal. I may have to retract my bet on the Best Actress nod. Tracey Letts adapted the screenplay from her own award winning stage play. Some may argue that the film may be restricted to the house, a beautiful house at that. But I feel it works as the perfect wrestling ring for one of the most dysfunctional families I’ve seen since Arrested Development (as exemplified perfectly in the poster).

Admittedly, I was reluctant to see this. Me? Reluctant to see a film? Strange. I know. The trailer didn’t sell it for me. But Mum’s a Streep fan and so we went . . . and was pleasantly surprised. What was strange was seeing ol’ brainbox Sherlock Holmes, Mr Benedict Cumberbatch as silly sympathetic simpleton Little Charlie. An odd, if well acted, transition. After his shoddy accent in The Island, Ewan McGregor has finally mastered the American accent. The only thing I could pick at is why on Earth did he have his teeth done? Are you Rylan in disguise?! (X Factor’s Rylan Clark. If you don’t know, who that is. Well, you’re lucky). Apart from that, very good. In all fairness, the cast were brilliantly picked for the roles. The only problem with so much talent on display, certain actors get pushed to the back of the line but the fact they are still able to make an impression, shows how talented they are and how well developed the characters were. Juliette Lewis as the younger gullible naive daughter (Not surprising that Lewis would play the dimwit but she nails it so well). Delmot Mulroney as the laid back slacker with the fancy Ferrari, trying to stay cool with the kids, reeking of a mid-life crisis.

Julianne Nicholson as Ivy, the daughter that stayed while the others flew the coop. And speaking of coop, it was great to see Chris Cooper. An underrated actor who always shines. I mean only he could go from American Beauty to The Muppet Movie and nail it. Desperately trying to keep the peace in a house full of nutters, his breaking point speech was brilliantly done. You couldn’t help but root for the guy. It could be argued that Abigail Breslin and Sam Shepard were wasted characters. But the real story is between Violet (Streep) and Barbara (Roberts). Breslin’s character Jean was more of a foil to unearth their resentments and there is a reason for Shepard without spoiling anything. Great actor and the fact he made an impact with a mere couple of minutes, reciting TS Elliott was very good. But anyone could have played him. 

There are three actresses that stood out. The first was Margo Martindale (a talented actress that has played some memorable roles from some of my favourite TV shows, Dexter and The Americans. She especially struck my eye after her turn in Justified as the creepy Mags Bennett). She plays Mattie Fae brilliantly. Her chemistry with Streep was fantastic. You could have believed that they were sisters. They made it seem so natural. Now the other two and the main stars, who have been rightly nominated for Oscars respectively, are Julia Roberts and Meryl Streep as Barbara and Violet. They desperately try to keep civil during a family crisis that has finally brought all the family home, despite their strained relationship but it isn’t soon before tempers flare up and everyone’s dirty laundry is thrown about. The pair are fantastic and when they confront each other over their problems with one another, it is great to watch. Riveting and at times emotional. Meryl Streep, however, was on another level. As soon as she entered the first frame, she stole the show and dominated the film as the overbearing pill popping matriarch. Her erratic behaviour from mad ranter to a vulnerable sufferer was conveyed expertly. Her “truth telling” guilt trip at the dinner table was brilliantly done. As the film progresses, we finally get to see her vulnerability and show real sympathy for her. The final moments are a fitting end note to an impeccable performance by an incredible actress. Just watch it!

Family secrets are revealed, unexpected twists and turns jump up, it all kicks off and then . . . ends quite abruptly. The ending was to be expected but it seemed to wrap up all too quickly and loosely but then when are family matters ever really resolved? But after so much build up, tension and great acting, maybe a little more time could have been spared on the final minutes, especially when one of the characters drives away in an unexpected direction. I’m staying as cryptic as possible as I want people to see this. Speaking as someone from a big family, there were so many personalities that reminded me of my own. The dinner table scene demonstrated that perfectly, especially when Violet told the men off for taking their jackets off at the table and watching them put them back on like scorned children. I haven’t seen the play that this was based on but I would very much like to now. Some may argue that the pace doesn’t justify the means but I don’t believe so. I think it allowed the simmering tension to bring to the boil perfectly, making it better for it.

All in all, well shot, well written, well acted, well done! Hazaar! In Streep we trust 4/5

Currently ranks #14 out of 133!

Inside Llewyn Davis Review

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Inside Llewyn Davis (that sounds incredibly rude! Pack it up. Come on, we’re better than that). Well . . . a mixed bag of sorts. Great cast, great performances, good songs but a somewhat slackening pace and a journey that gets incredibly bleak and downbeat with a somewhat flat ending. Not the Coens worst, but certainly not their best.

Looking back at the Coen Brothers’ filmography, I can’t help but feel how their films come off as marmite to me. At their best, we have the Big Lebowski, Fargo, Raising Arizona, Blood Simple, No Country for Old Men (after numerous viewings for a dissertation on contemporary noir, it went from meh to brilliant). At their worst, Burn After Reading and the shambolic Ealing classic remake the Ladykillers. Inside Llewyn Davis is somewhat in the middle of these two categories. The cast cannot be faltered. The pair have found a leading man in Oscar Isaac as Llewyn. To be honest, I hadn’t heard of the chap. I had to IMDb him. Turns out, he played supporting roles in Robin Hood, Sucker Punch and Drive. Well, I’ll keep tabs on him now and expect to see him in more movies after this performance. He provided much depth and brought a likeable if conflicted and flawed protagonist to life.

The things that irritates and always surrounds the Coens films is the needless hype. After the uproar at their omission from most of the “important” categories of the Oscars, I expected much more from this. I believe Isaac should have got a nod for Best Actor. His singing was fantastic as well. We follow struggling folk singer Llewyn Davis as he battles the wintery conditions of the Greenwich village scene as he tries to get his music out there, despite having no money, no home and no coat. The Coens provide their usual checklist light hearted humour and the first hour blazes along quite nicely, with the aid of a great cast of supporting characters, including the likes of the erratic Carey Mulligan and Justin Timberlake. Hardly need to say much about JT’s singing, after all, it is his profession (He nails it). I was surprised at how good Mulligan was. You could argue that their characters don’t have enough screen time but when they do, they all excel. The humourous episode with Llewyn being stuck with a ginger cat and the numerous attempts to capture it were a nice aside. The songs are memorable and sung well. It turns out most of the folk songs were sung live. If any were mimed, then either the sound editing and dubbing was executed perfectly or Mr Timberlake may too good a mime artist, but I digress. It does help to enjoy or be fan of folk music. Fare Thee Well, Hang Me, Oh Hang Me and the annoyingly catchy Please Mr Kennedy were the stand out ones for me. Please Mr Kennedy may have been a deliberate jab at the stupidity of jingles and catchy songs just to get a hit but it is a good song in itself.

The film is hardly original in it’s telling of one man’s journey trying to get a break. If anything the Coens truly demonstrate perfectly a protagonist’s stage of nadir (the bottom of the barrel) with the road trip from hell. The movie turns and gets incredibly dark and painfully bleak (to be expected from the Coens) with the sinister scene stealing supporting turn of a Coens regular, the legend that is John Goodman as cane-tapping Roland Turner. He growls and grumbles along, milking every minute. (Unfortunately, the poor bloke has put the pounds back on. Some might be saying, did he even lose weight?). We drudge along through this bleak journey as you hope Llewyn get’s that break. He’s not completely painted as the victim. Was he a victim of the times? Or was he afraid to actually get success? Was the rut that he had been put in due to pure bad luck? Or was it down to his own accord? You feel for Llewyn when he has no coat, seeks anybody who can spot a spare couch and tries to warm his icy soaked feet under the cafe table but at the same time, you get angry for him when he gets work that is not to his ideals, he snubs it. He snaps at the only people who are helping him.

However, the end result leaves you somewhat slighted. The journey goes full circle and without spoiling too much, ends unexpectedly and very flat. If anything it was quite disappointing, especially when you’re rooting for this underdog. All in all, not a complete failure. The songs are still stuck in my head, the performances are brilliant and there are more pros than cons but in context of the Oscar categories and best film of the year? Not so much. Another hype bites the dust? Coens do folk, I guess. Get back on the crime movies, guys! 3/5

Currently ranks #54 out of 130

STOP! OSCAR TIME. THE RANT . . . I mean nominations.

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Awards seasons is well and truly underway and of course the OSCARS are vastly approaching. The nominations are here at last. Granted, I’m a little behind. Hey, I’ve been busy. Plus it’s been good to see people’s reactions on the list. Now, it’s my turn.

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  • So first up, here are the nominees for BEST PICTURE; 12 YEARS A SLAVE, AMERICAN HUSTLE, CAPTAIN PHILLIPS, DALLAS BUYERS CLUB, GRAVITY, HER, NEBRASKA, PHILOMENA and THE WOLF OF WALL STREET. 

Mixed bag for me. Some of these riding on too much hype. Hype always helps in getting films noticed but these ones? Hmmm . . . personally, I feel that American Hustle and Captain Phillips do not deserve this nod. BEST PICTURE to me, means the best film in story, acting and . . . well everything. Both excelled as acting showcases but all in all, were both drawn out, long winded affairs that lost my interest through the halfway point. There is no need to make a film two to three hours unless the ends justifies the means. Now, Gravity is another over-hyped example. Deserves all the nods for visual and special effects but at it’s core, I personally felt the film died off when *SPOILER* Clooney did. In all fairness, he deserved a Best Supporting nod. He stole every scene. At Gravity’s core, however, is the same old predictable story of survival. I can’t believe I’m saying this but I had more enjoyment out of Armageddon! If she died, would have been a waste of time, so only one way it could go and it felt like an eternity not 90 minutes.

The others I have yet to see. The joys of being in a town where there are no independent or arthouse cinemas. BUT I have done my research. It’s great to see Nebraska and Philomena getting a nod. Philomena is a fantastic film, if unexpected nomination. However, these are definitely going to be the outside bets. Same applied for Dallas Buyers Club. Now, this is where my bias kicks in. Huge Scorsese fan! So I want Wolf of Wall Street to win. But I would say 12 Years A Slave will get this in the bag. The reaction has been a lot more united on this picture, while American Hustle and Gravity have torn people straight down the middle.

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  • Next, BEST DIRECTOR! And the nominess are; Alfonso Cuaron, GRAVITY, Steve McQueen, 12 YEARS A SLAVE, Alexander Payne, NEBRASKA, David O Russell, AMERICAN HUSTLE, Martin Scorsese, THE WOLF OF WALL STREET

Directors- not too much to say. You know who I want to win and frankly he has been ignored for too long. Scorsese finally got an Oscar but one of his weaker projects. Getting one for Wolf of Wall Street would rectify that. But I think it will be between Cuaron and McQueen. It should be McQueen but can’t help but feel Cuaron will nick something from all that astronomical hype (See what I did there).

  • BEST ACTOR – Christian Bale, AMERICAN HUSTLE, Bruce Dern, NEBRASKA, Leonardo DiCaprio, THE WOLF OF WALL STREET, Chiwetel Ejiofor, 12 YEARS A SLAVE and Matthew McConaughey, DALLAS BUYERS CLUB

In all fairness, I wasn’t surprised that Tom Hanks didn’t get a nod for Captain Phillips. Tremendous actor that he is. He only really got the final 10 minutes to show why he has earned that reputation. It was a wasted platform for him. Christian Bale was a surprise. Powerhouse actor but I felt he was incredibly passive and to be honest I have seen him do much better. He should received this nod for The Machinist. A painfully drab film that was uplifted by his sheer performance. American Hustle not so much. In all fairness, I felt Idris Elba should have had one more for Mandela: Long Walk to Freedom. A flawed biopic that was carried by his sheer gravitas. I mean, Denzel Washington got one for Flight and well . . . that was nothing special. Even Colin Firth should have received one for The Railway Man. The emotion he delivers through his expressions is worthy alone. However, Leonardo DiCaprio has excelled film after film. He deserved an award for Django Unchained and should so for the Wolf. People are saying this is his year but how many greats have not been acknowledged by this noble award ceremony? Should be DiCap but money’s on Ejiofor. Great to see him get recognised for the talent actor that he is and no, not just because he was in Kinky Boots (that was filmed in my hometown. NORTHAMPTON!).

  • BEST ACTRESS – Amy Adams, AMERICAN HUSTLE, Cate Blanchett, BLUE JASMINE, Sandra Bullock, GRAVITY, Judi Dench, PHILOMENA and Meryl Streep, AUGUST: OSAGE COUNTY. 

Right, love Amy Adams and Sandra Bullock but Best Actress? No. Adams’ accents were irritating, especially her “English” one. Great performance but not Oscar worthy. Same for Bullock. She expressed and delivered all the emotions any one could feel in that situation but I struggled to keep up with the film. I mean Doubt was a slow-burner but I couldn’t stop watching because of Streep’s performance. Ironically, multi-Oscar winner Streep has been nominated yet again. Not undeservedly so. She may have done some duds, but no one can doubt her performances and abilities. Keeping in mind with my previous comments, an actress I couldn’t keep my eyes off (Not like that! Well a little) was Cate Blanchett. BJ (Come on! We’re better than that!) Blue Jasmine was a ‘GOOD BUT . . .’ film for me. BUT Blanchett’s performance was impeccable. I think she will win. I really want Judi Dench to win. A fantastic actress and her performance as Philomena was funny and endearing but the buzz is pointing to Mrs B. Also, where was Emma Thompson’s nomination for Saving Mr Banks?! Shocking. Can’t believe she got cut from the list.

  • BEST SUPPORTING ACTOR – Barkhad Abdi, CAPTAIN PHILLIPS, Bradley Cooper, AMERICAN HUSTLE, Michael Fassbender, 12 YEARS A SLAVE, Jonah Hill, THE WOLF OF WALL STREET and Jared Leto, DALLAS BUYERS CLUB

Now firstly, not a bad selection. However, I do feel Hiroyuki Sanada should have a nod for The Railway Man. However, I’m not going to lie, I get confused with the release date period plus in the UK we seem to get everything a few months behind. Abdi was incredibly sinister and played the part well in Captain Phillips. I want Bradley Cooper to win. He has excelled since the Hangover and he stole the show, well almost, in American Hustle. That nod goes to someone else.  Money’s on Jared Leto who has been the dark horse and winning a few awards already for his performance.

  • BEST SUPPORTING ACTRESS – Sally Hawkins, BLUE JASMINE, Jennifer Lawrence, AMERICAN HUSTLE, Lupita Nyong’o, 12 YEARS A SLAVE, Julia Roberts, AUGUST: OSAGE COUNTY and June Squibb, NEBRASKA

There can only be one for me in this group who managed to make a quite pointless character enjoyable and memorable and that is Jennifer Lawrence. It’s a shame because Sally Hawkins was very good in Blue Jasmine. Interesting that Julia Roberts is supporting? From the trailer, I assumed that the main storyline revolved around her character and Streep was the supporting role? Hmmm.

Now, the others. Harsh but these ones get rushed across or are previewed during the relentless red carpet coverage or all the advertisements. It’s infuriating because these awards are still important; a good script with a good story makes a huge difference. Editing, sound, cinematography helps create a film and make it more memorable. If the sound doesn’t match or the film looks too grainy, that’s it, you’re out of there but hey ho.

  • BEST ADAPTED SCREENPLAY – 12 Years a Slave, Before Midnight, Captain Phillips, Philomena and The Wolf of Wall Street

Money is on 12 YEARS A SLAVE!

  • BEST ORIGINAL SCREENPLAY – American Hustle, Blue Jasmine, Dallas Buyers Club, Her and Nebraska

A tough one. All valid candidates for a change. Now, Alexander Payne is normally the king for nailing this so I would say Nebraska. But I feel O’Russell will lose out on the bigger fish and might just sneak this. However, Oscar nominee regular Mr. Woody Allen might fancy his chances. Tough call. Gutted that Kelly Marcel didn’t get the nod for  Saving Mr Banks.

  • BEST ANIMATED FEATURE – The Croods, Despicable Me 2, Ernest and Celestine, Frozen and The Wind Rises

Got to be between Frozen and Despicable Me 2. Now, I want Despicable Me 2! Minions all the way and if they could accept it either dressed as Minions or an animated acceptance speech, that would be great (In Office Space voice). However, Frozen would be more fitting of the Oscars though. Both enjoyable none the less.

  • BEST ANIMATED SHORT – Feral, Get a Horse!, Mr Hublot, Possessions and Room on the Broom

Money’s on Get a Horse! It’s Disney, John Lasseter produced, can’t see any others beating it. Feral as the outside bet possibly.

  • BEST CINEMATOGRAPHY – The Grandmaster, Gravity, Inside Llewyn Davis, Nebraska and Prisoners

Money’s on Gravity. As much as it may have been overhyped, one thing that can’t be argued is the look of it. Beautiful and stunning. However, Prisoners was shot fantastically as well. But Gravity, all the way.

  • BEST EDITING – 12 Years a Slave, American Hustle, Captain Phillips, Dallas Buyers Club and Gravity

American Hustle, methinks. I feel the film will pull in what it can because it may fall short of it’s buzz. However, Greengrass’ projects of late have been commended for their editing. Gravity may miss out in place for the more visual awards.

  • BEST COSTUME DESIGN – 12 Years a Slave, American Hustle, The Grandmaster, The Great Gatsby and The Invisible Woman

12 Years and American Hustle look outstanding in their design but there can be only one for it’s lavish and luscious costume and that goes to the Not-So-Great Gatsby.

  • BEST MAKE UP – Dallas Buyers Club, Jackass Presents: Bad Grandpa, The Lone Ranger

Would be great to see Jackass to win for Knoxville’s make up but as it’s “Oscar season”, money on Dallas Buyers Club. Although strangers things have happened.

  • BEST MUSIC – The Book Thief, Gravity, Her, Philomena, Saving Mr Banks

May have cut short on everything but surely Saving Mr Banks will win this one?!

  • BEST SONG – ‘Alone Yet Not Alone’, Alone Yet Not Alone, ‘Happy’, Despicable Me 2, ‘Let It Go’, Frozen, ‘The Moon Song’, Her, ‘Ordinary Love’, Mandela: Long Walk to Freedom

Would love Happy to win. I mean it’s been number one in the charts over here for how long? Plus it’s a TUNE. However, Disney are a tough competitor. But let’s not forget that fateful year when Amy Adams sang live two or three songs that were nominated for Enchanted. Only for the couple from Once to win. Only one nomination in the group. Also, Three Six Mafia (Who?) have got an Oscar. Haven’t done much since. Didn’t do much before. Just stayin’ fly, I suppose 😉 Still don’t remember them? John Stewart said what everybody was thinking at the time, “Three Six Mafia 1, Martin Scorsese 0”

  • BEST PRODUCTION DESIGN – 12 Years a Slave, American Hustle, Gravity, The Great Gatsby, Her

Toss up between Gravity and OK Gatsby (What? It weren’t that good. Nice to look at, though). Got to be the Gats.

  • BEST SOUND EDITING – All is Lost, Captain Phillips, Gravity, The Hobbit: The Desolation of Smaug, Lone Survivor

Gravity or The Hobbit. I would say, The Hobbit will get one preciousssss

  • BEST SOUND MIXING – Captain Phillips, Gravity, The Hobbit: The Desolation of Smaug, Inside Llewyn Davis, Lone Survivor

Inside Llewyn Davis might snag this one and hopefully avoid a complete snub. We shall see. If not, there is only one, preciousss because one film of this magnitude does not simply go to the Oscars and get one award.

  • BEST VISUAL EFFECTS – Gravity, The Hobbit: The Desolation of Smaug, Iron Man 3, The Lone Ranger, Star Trek Into Darkness

Gravity. Sorry, oh Smaug, breathtaking beast that you are but you cannot match the beauty of the Earth. Star Trek, fantastic effects but alas, worse than that, it’s dead Jim.

The other nominations I am unfamiliar with and I don’t think it’s fair to comment. Plus not much buzz to go. Best documentary. I’d place my bets on The Act of Killing.

  • BEST DOCUMENTARY FEATURE – 20 Feet from Stardom, The Act of Killing, Cutie and the Boxer, Dirty Wars, The Square
  • BEST DOCUMENTARY SHORT – Cavedigger, Facing Fear, Karama Has No Walls, The Lady in Number 6: Music Saved My Life, Prison Terminal: The Last Days of Private Jack Hall
  • BEST FOREIGN LANGUAGE FILM – The Broken Circle Breakdown (Belgium), The Great Beauty (Italy), The Hunt (Denmark), The Missing Picture (Cambodia), Omar (Palestine)
  • BEST LIVE ACTION SHORT – Aquel No Era Yo (That Wasn’t Me), Avant Que de Tout Perdre (Just Before Losing Everything), Helium, Pitaako Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?), The Voorman Problem

A breakdown will down later on, with my Oscar checklist and bets, plus more buzz on the later categories. And let’s see how many on the Oscar lotto I can get. Such fun! Plus Dory’s back! Expect selfies. Run Spielberg Run!