By our guest blogger, Marie Biondolillo

Ever eager to save us from ourselves, the MPAA has given the romantic comedy, “It’s Complicated,” an R rating.  The reason?  It features heroine Meryl Streep enjoying a marijuana cigarette with love-interest Steve Martin.

"It's Complicated" is the latest in Nancy Meyer’s wish-fulfillment series for the Pottery Barn set.  It's the story of Jane (Meryl Streep), an impossibly beautiful and successful single mother of three who has to bat the men folk off with a stick, even as she enters late middle age. Her suitors include ex-husband Jake (Alec Baldwin) and remodel architect Adam (Steve Martin.)

Never mind that this movie deserves an R rating based on this set-up alone--seriously, women of all ages fantasize about being chased by Alec Baldwin and Steve Martin, at least in those moments when they aren’t busy fantasizing about looking like Meryl Streep or having architects personally plan and supervise the remodeling of their expensive homes. The lot of this is pure Lady Porn, and as such, it's totally pernicious. Why, it might inspire ordinary women to become super-rich and successful, all in the hopes that comedy legends might stop by their mansions in order to chase them around the kitchen island, pay them witty but heartfelt compliments, and get them ripped out of their minds.

Ladies, this is not a realistic scenario! It’s not fair to judge regular men by these unattainable Hollywood standards. Just because some dude doesn’t have multiple Emmys or a sweet stash doesn’t mean that he’s not a worthwhile person who might make a wonderful life partner someday.

If only the MPAA had given “It’s Complicated” a XXX rating--then, we wouldn’t have to worry about the corruption of our nation’s moms. At least the teens are safe. Everybody knows that today’s teens (and even tweens) look straight to Meryl Streep for the straight dope on what’s edgy, hip and now. Meryl Streep made American Apparel happen. Meryl Streep liked Kings of Leon before y’all liked Kings of Leon. When Meryl Streep isn’t flash mobbing, she’s silk-screening vintage owl graphics while rocking stunnaz. If The Kids were able to see “It’s Complicated,” they’d see Meryl burning tweeds, and they would start asking questions, and eventually they would find out that marijuana exists. And then all of us would be in peril.

What kind of world would it be if teenagers knew about pot? It would be crazy! Teenagers would be running amok, sharing weed in unlikely places (like tree houses and garages!); storming the convenience stores of America, on the look-out for soda pop and toaster oven-friendly comestibles; and sleeping past 9 AM on Saturdays.

Thankfully, the MPAA has saved us from this terrifying dystopia. We are safe for now, at least until Meryl Streep makes the next move in her bid to destroy civilization as we know it.

Source.


View the trailer for "It's Complicated" below.  Thoughts?

By our guest blogger, Marie Biondolillo

Ever eager to save us from ourselves, the MPAA has given the romantic comedy, “It’s Complicated,” an R rating.  The reason?  It features heroine Meryl Streep enjoying a marijuana cigarette with love-interest Steve Martin.

"It's Complicated" is the latest in Nancy Meyer’s wish-fulfillment series for the Pottery Barn set.  It's the story of Jane (Meryl Streep), an impossibly beautiful and successful single mother of three who has to bat the men folk off with a stick, even as she enters late middle age. Her suitors include ex-husband Jake (Alec Baldwin) and remodel architect Adam (Steve Martin.)

Never mind that this movie deserves an R rating based on this set-up alone--seriously, women of all ages fantasize about being chased by Alec Baldwin and Steve Martin, at least in those moments when they aren’t busy fantasizing about looking like Meryl Streep or having architects personally plan and supervise the remodeling of their expensive homes. The lot of this is pure Lady Porn, and as such, it's totally pernicious. Why, it might inspire ordinary women to become super-rich and successful, all in the hopes that comedy legends might stop by their mansions in order to chase them around the kitchen island, pay them witty but heartfelt compliments, and get them ripped out of their minds.

Ladies, this is not a realistic scenario! It’s not fair to judge regular men by these unattainable Hollywood standards. Just because some dude doesn’t have multiple Emmys or a sweet stash doesn’t mean that he’s not a worthwhile person who might make a wonderful life partner someday.

If only the MPAA had given “It’s Complicated” a XXX rating--then, we wouldn’t have to worry about the corruption of our nation’s moms. At least the teens are safe. Everybody knows that today’s teens (and even tweens) look straight to Meryl Streep for the straight dope on what’s edgy, hip and now. Meryl Streep made American Apparel happen. Meryl Streep liked Kings of Leon before y’all liked Kings of Leon. When Meryl Streep isn’t flash mobbing, she’s silk-screening vintage owl graphics while rocking stunnaz. If The Kids were able to see “It’s Complicated,” they’d see Meryl burning tweeds, and they would start asking questions, and eventually they would find out that marijuana exists. And then all of us would be in peril.

What kind of world would it be if teenagers knew about pot? It would be crazy! Teenagers would be running amok, sharing weed in unlikely places (like tree houses and garages!); storming the convenience stores of America, on the look-out for soda pop and toaster oven-friendly comestibles; and sleeping past 9 AM on Saturdays.

Thankfully, the MPAA has saved us from this terrifying dystopia. We are safe for now, at least until Meryl Streep makes the next move in her bid to destroy civilization as we know it.

Source.


View the trailer for "It's Complicated" below.  Thoughts?

DVD Review

"Harvey" (1950)

Directed by Henry Kostner, written by Mary Chase and Oscar Brodney, not rated.

By our guest blogger, Lauren Bull

It recently was reported that Steven Spielberg walked away from directing a remake of “Harvey,” the 1950 film starring James Stewart as Elwood P. Dowd, a man whose best friend is an invisible rabbit over six feet tall. Whether the rumor is true that Spielberg backed off because of difficulty finding the perfect leading man is irrelevant.  I’m more interested in whether he would have found the right tone.

“Harvey” has that screwball comedy element where characters constantly are cutting each other off because if they were able to complete their sentences, everything would be resolved in minutes. Early on in the film, when Dowd’s concerned sister, Veta (the brilliantly manic Josephine Hull), tries to bring him to the sanitarium, a series of miscommunications leads to her being committed. This kind of zany mishap has to happen in order to maintain the film’s inner struggle--Dowd is a serious alcoholic who talks to an invisible rabbit, all of which comes across as sweet and enviable. He’s a popular guy in town, the one who gives genuine compliments and invites strangers to dinner.

The word “charm” often is assigned to films such as this, which sometimes feels as though it’s being used as a synonym for “simple.” How many would really entertain Dowd’s relationship with Harvey? And for how long? Spielberg probably was the best choice to make a film that would be a fraternal twin of the original, not an identical one, but the challenge is still great in the wake of the original. What’s so wonderful about “Harvey” is that while the film might make light of the situation, the rabbit definitely is not treated as a joke. Notice how few close-ups there are; so much of it is extended master shots. Though not visible, Harvey rarely is out of frame.

When we get to the gorgeous and melancholy scene outside the local bar, where Dowd admits some people have been alienated by Harvey, the filmmakers refuse to let science resolve things. Dr. Sanderson asks Dowd if he ever has known anyone else named Harvey (his father, a childhood friend, etc.). Dowd says, “No, not one, doctor. Maybe that’s why I always had such hopes for it.” Modern, practical psychology won’t get the best of him, but it might have gotten the best of Spielberg.

The “Harvey” DVD doesn’t offer much in the way of extras (no director’s commentary or deleted scenes on this one), but my favorite bit of production trivia was playwright Mary Chase’s request to have the rabbit visible to the audience in the closing shot, a quick glance that would have changed everything tonally. Director Henry Koster turned her down. Maybe he thought it was the kind of mistake you save for someone else to make.

DVD Review

"Harvey" (1950)

Directed by Henry Kostner, written by Mary Chase and Oscar Brodney, not rated.

By our guest blogger, Lauren Bull

It recently was reported that Steven Spielberg walked away from directing a remake of “Harvey,” the 1950 film starring James Stewart as Elwood P. Dowd, a man whose best friend is an invisible rabbit over six feet tall. Whether the rumor is true that Spielberg backed off because of difficulty finding the perfect leading man is irrelevant.  I’m more interested in whether he would have found the right tone.

“Harvey” has that screwball comedy element where characters constantly are cutting each other off because if they were able to complete their sentences, everything would be resolved in minutes. Early on in the film, when Dowd’s concerned sister, Veta (the brilliantly manic Josephine Hull), tries to bring him to the sanitarium, a series of miscommunications leads to her being committed. This kind of zany mishap has to happen in order to maintain the film’s inner struggle--Dowd is a serious alcoholic who talks to an invisible rabbit, all of which comes across as sweet and enviable. He’s a popular guy in town, the one who gives genuine compliments and invites strangers to dinner.

The word “charm” often is assigned to films such as this, which sometimes feels as though it’s being used as a synonym for “simple.” How many would really entertain Dowd’s relationship with Harvey? And for how long? Spielberg probably was the best choice to make a film that would be a fraternal twin of the original, not an identical one, but the challenge is still great in the wake of the original. What’s so wonderful about “Harvey” is that while the film might make light of the situation, the rabbit definitely is not treated as a joke. Notice how few close-ups there are; so much of it is extended master shots. Though not visible, Harvey rarely is out of frame.

When we get to the gorgeous and melancholy scene outside the local bar, where Dowd admits some people have been alienated by Harvey, the filmmakers refuse to let science resolve things. Dr. Sanderson asks Dowd if he ever has known anyone else named Harvey (his father, a childhood friend, etc.). Dowd says, “No, not one, doctor. Maybe that’s why I always had such hopes for it.” Modern, practical psychology won’t get the best of him, but it might have gotten the best of Spielberg.

The “Harvey” DVD doesn’t offer much in the way of extras (no director’s commentary or deleted scenes on this one), but my favorite bit of production trivia was playwright Mary Chase’s request to have the rabbit visible to the audience in the closing shot, a quick glance that would have changed everything tonally. Director Henry Koster turned her down. Maybe he thought it was the kind of mistake you save for someone else to make.

DVD, Blu-ray Movie Review

"World's Greatest Dad"

Directed by Bobcat Goldthwaite, written by Goldthwaite, 99 minutes, rated R.

By our guest blogger, Rob Stammitti



Robin Williams is Lance Clayton, a teacher, failed writer and single father of one of the least-likable cretins to ever walk the Earth--Kyle (played by Daryl Sabara, known pretty much entirely for his lead role in the Spy Kids films--not anymore, at least not to me). Kyle is a 15-year-old loudmouth, he's a sexual deviant (at least in his mind), and generally, he's an anti-social miscreant.  Still, Lance loves him.  This is his son, and he truly does try to relate to him and he wants him to succeed.

This unhealthy and unsuccessful relationship makes up the first act of the film. It’s pretty dark stuff for the first half hour or so, but it’s terribly funny, and Williams and Sabara have incredible chemistry, and both give killer performances. I highly enjoyed the first part of the film.

That said, it takes a sharp turn when writer and director Bobcat Goldthwaite reveals what he really wants to say--Lance comes home from a date one night and finds Kyle has died by accident as a result of his penchant for auto-erotic asphyxiation. Lance cleans him up and makes it look like a suicide, even writing a deep and profound suicide note. The result is that everyone who hated or ignored Kyle at school (the same school where Lance works) suddenly falls in love with the Kyle showcased in the suicide note. Lance takes advantage of the opportunity and writes an entire journal under the guise of his son, and the fame and money Lance always has dreamed of starts rolling in.

The premise has potential to be a brilliant, harsh satire about deifying the dead and the thirst for fame.  There are moments when this potential nearly is realized, but the film is so bogged down by the absurdity of some of its characters and frequently over-the-top comedy, that what it wants to say either is lost in the process or is beaten like a dead horse.  Goldthwaite is too soft on his characters.

Thankfully, Williams carries the film a long way, and even when the rest of the movie approaches mediocrity, he always is a pleasure to watch. It's wonderful to see Williams at the top of both his comedic and dramatic game after the last few years of poor career decisions, and I'd say he deserves forgiveness for "Old Dogs" just for being willing to tackle dark material such as this. Sabara perfectly accomplishes the stark, unlikeable Kyle, and he’s absolutely hilarious, often stealing the show from Williams.

I have to wonder if this material could have been a black comedy masterpiece in the hands of someone else.  Todd Solondz, perhaps?

Grade: C+

View the trailer for "World's Great Dad" below.  Thoughts?

DVD, Blu-ray Movie Review

"World's Greatest Dad"

Directed by Bobcat Goldthwaite, written by Goldthwaite, 99 minutes, rated R.

By our guest blogger, Rob Stammitti



Robin Williams is Lance Clayton, a teacher, failed writer and single father of one of the least-likable cretins to ever walk the Earth--Kyle (played by Daryl Sabara, known pretty much entirely for his lead role in the Spy Kids films--not anymore, at least not to me). Kyle is a 15-year-old loudmouth, he's a sexual deviant (at least in his mind), and generally, he's an anti-social miscreant.  Still, Lance loves him.  This is his son, and he truly does try to relate to him and he wants him to succeed.

This unhealthy and unsuccessful relationship makes up the first act of the film. It’s pretty dark stuff for the first half hour or so, but it’s terribly funny, and Williams and Sabara have incredible chemistry, and both give killer performances. I highly enjoyed the first part of the film.

That said, it takes a sharp turn when writer and director Bobcat Goldthwaite reveals what he really wants to say--Lance comes home from a date one night and finds Kyle has died by accident as a result of his penchant for auto-erotic asphyxiation. Lance cleans him up and makes it look like a suicide, even writing a deep and profound suicide note. The result is that everyone who hated or ignored Kyle at school (the same school where Lance works) suddenly falls in love with the Kyle showcased in the suicide note. Lance takes advantage of the opportunity and writes an entire journal under the guise of his son, and the fame and money Lance always has dreamed of starts rolling in.

The premise has potential to be a brilliant, harsh satire about deifying the dead and the thirst for fame.  There are moments when this potential nearly is realized, but the film is so bogged down by the absurdity of some of its characters and frequently over-the-top comedy, that what it wants to say either is lost in the process or is beaten like a dead horse.  Goldthwaite is too soft on his characters.

Thankfully, Williams carries the film a long way, and even when the rest of the movie approaches mediocrity, he always is a pleasure to watch. It's wonderful to see Williams at the top of both his comedic and dramatic game after the last few years of poor career decisions, and I'd say he deserves forgiveness for "Old Dogs" just for being willing to tackle dark material such as this. Sabara perfectly accomplishes the stark, unlikeable Kyle, and he’s absolutely hilarious, often stealing the show from Williams.

I have to wonder if this material could have been a black comedy masterpiece in the hands of someone else.  Todd Solondz, perhaps?

Grade: C+

View the trailer for "World's Great Dad" below.  Thoughts?

By our guest blogger, Britt Sondreal

“Nine” is one of this season’s most anticipated holiday movie releases, a big-screen adaptation of the Tony award-winning 1982 musical by the same name. A semi-biographical dip into Fellini’s life, the musical and movie focus on the midlife crisis of one Guido Contini, a famous Italian film director with a penchant for beautiful women and extravagant living who finds himself creatively bankrupt. The movie is directed by Rob Marshall, the force behind 2002’s musical smash, “Chicago.”

Released on Dec. 15, 2009, the "Nine" soundtrack has, like the movie, a lot of the same ingredients as “Chicago”--big-name stars not necessarily known for their musical chops delivering terrific vocal performances. Here, we find a host of Hollywood’s finest, including Daniel Day Lewis, Kate Hudson, Penelope Cruz, Dame Judy Dench and Sophia Lauren, all belting it out with, for the most part, successful dialect and accent work to boot. The only members of the cast with prior musical prowess are Nicole Kidman, Marion Cotillard (who won an Oscar for her turn as Edith Piaf in “La Vie En Rose”) and rock star Fergie.  Everyone here showcases genuine vocal strength and agility (listen to Cruz’s seductive gymnastics on “Call From the Vatican” or Cotillard’s angry desperation in the slinky cabaret-act “Take It All”).

Despite the wow factor in the casting and the extravagant production promised in the movie's trailer (see below), the soundtrack falls short of what it could be and ultimately fails to deliver substantial power. Where the “Chicago” album sets fire to your pulse, “Nine” is politely risque and leaves behind the potential for edgier interpretation and creative risk.

And so, the soundtrack is a mix.  It offers solid, well-produced music that features the sort of safe orchestration that will please most musical theater fans, but this listener heard a lost opportunity to give the material new life for an audience of the digital age. The salsa rhythm-driven Hudson solo “Cinema Italiano,” for instance, is a prime example--one could easily imagine a heavy beat with ambient reverb vocal effects, thus allowing the piece to live up to its frenetic music video-inspired visuals. Even in its “Ron Fair Remix” version, which appears at the end of the album, the additional beat that's dropped in is the only real difference here--and it's a disappointingly bland one. With the wide array of sonic tools at their disposal and no live-performance production constraints, it’s a shame that this soundtrack decided to play it safe.

View the movie trailer for "Nine" below. Thoughts?

By our guest blogger, Britt Sondreal

“Nine” is one of this season’s most anticipated holiday movie releases, a big-screen adaptation of the Tony award-winning 1982 musical by the same name. A semi-biographical dip into Fellini’s life, the musical and movie focus on the midlife crisis of one Guido Contini, a famous Italian film director with a penchant for beautiful women and extravagant living who finds himself creatively bankrupt. The movie is directed by Rob Marshall, the force behind 2002’s musical smash, “Chicago.”

Released on Dec. 15, 2009, the "Nine" soundtrack has, like the movie, a lot of the same ingredients as “Chicago”--big-name stars not necessarily known for their musical chops delivering terrific vocal performances. Here, we find a host of Hollywood’s finest, including Daniel Day Lewis, Kate Hudson, Penelope Cruz, Dame Judy Dench and Sophia Lauren, all belting it out with, for the most part, successful dialect and accent work to boot. The only members of the cast with prior musical prowess are Nicole Kidman, Marion Cotillard (who won an Oscar for her turn as Edith Piaf in “La Vie En Rose”) and rock star Fergie.  Everyone here showcases genuine vocal strength and agility (listen to Cruz’s seductive gymnastics on “Call From the Vatican” or Cotillard’s angry desperation in the slinky cabaret-act “Take It All”).

Despite the wow factor in the casting and the extravagant production promised in the movie's trailer (see below), the soundtrack falls short of what it could be and ultimately fails to deliver substantial power. Where the “Chicago” album sets fire to your pulse, “Nine” is politely risque and leaves behind the potential for edgier interpretation and creative risk.

And so, the soundtrack is a mix.  It offers solid, well-produced music that features the sort of safe orchestration that will please most musical theater fans, but this listener heard a lost opportunity to give the material new life for an audience of the digital age. The salsa rhythm-driven Hudson solo “Cinema Italiano,” for instance, is a prime example--one could easily imagine a heavy beat with ambient reverb vocal effects, thus allowing the piece to live up to its frenetic music video-inspired visuals. Even in its “Ron Fair Remix” version, which appears at the end of the album, the additional beat that's dropped in is the only real difference here--and it's a disappointingly bland one. With the wide array of sonic tools at their disposal and no live-performance production constraints, it’s a shame that this soundtrack decided to play it safe.

View the movie trailer for "Nine" below. Thoughts?

By our guest blogger, Spencer Morton

Is there a more dynamic filmmaker these days than Danny Boyle?

Boyle, who finally received mainstream recognition for 2008’s “Slumdog Millionaire,” has his next film planned. Variety reports that Boyle will direct “127 Hours,” the story of Arom Ralston, a mountain climber who gets pinned under a boulder and has to amputate his own arm to escape.

Originally, Boyle was rumored to take the helm for the next James Bond installment. Instead, he once again will take the low-budget, indie route. Ralston’s story is a miraculous one. In 2003, he was trapped for five days in a mountain range in Utah with sparing amounts of food and water. He took drastic measures to survive. No actors have been confirmed for the role, but Ryan Gosling is rumored.

An actor I’d like to see get the nod is Joseph Gordon-Levitt. He is 28-years-old, the same age as Ralston at the time of the accident. Gordon-Levitt has some great acting chops and this would be a good opportunity for him to put himself a step ahead of the rest of the “under-30” crowd of actors. Look at his work in “Brick” or “Stop-Loss.” The guy has talent.

Boyle will team with familiar faces including Simon Beaufoy, who penned “Slumdog”; Christian Colson, who produced “Slumdog”; and distribution will be handled by Fox Searchlight.

Boyle is a genre-hopping machine. It’s about time he gets the recognition he deserves. He directed “28 Days Later,” one of the best zombie/infection movies ever. 2007 gave us on of the slickest sci-fi films of late, “Sunshine.” Everyone knows what last year’s “Slumdog Millionaire” was able to achieve.

The man can tackle any genre, seamlessly. It will be intriguing to see what he does with this material. “127 Hours” will be “Cast Away”-esque in that one actor will dominate the screen mostly by himself. Early word is that the first hour of the film will contain absolutely no dialogue. Since Ralston was by himself the whole time, this would make sense. I’m not sure how marketable that idea is, but it will surely give Boyle and the yet-to-be-named actor a unique opportunity to showcase their talents.

The film is still in its early stages, but Boyle is hoping for a release date of late 2010. If he continues to produce the quality of work he’s been doing, Boyle could find himself back at the Academy Awards in 2011

Source.

By our guest blogger, Spencer Morton

Is there a more dynamic filmmaker these days than Danny Boyle?

Boyle, who finally received mainstream recognition for 2008’s “Slumdog Millionaire,” has his next film planned. Variety reports that Boyle will direct “127 Hours,” the story of Arom Ralston, a mountain climber who gets pinned under a boulder and has to amputate his own arm to escape.

Originally, Boyle was rumored to take the helm for the next James Bond installment. Instead, he once again will take the low-budget, indie route. Ralston’s story is a miraculous one. In 2003, he was trapped for five days in a mountain range in Utah with sparing amounts of food and water. He took drastic measures to survive. No actors have been confirmed for the role, but Ryan Gosling is rumored.

An actor I’d like to see get the nod is Joseph Gordon-Levitt. He is 28-years-old, the same age as Ralston at the time of the accident. Gordon-Levitt has some great acting chops and this would be a good opportunity for him to put himself a step ahead of the rest of the “under-30” crowd of actors. Look at his work in “Brick” or “Stop-Loss.” The guy has talent.

Boyle will team with familiar faces including Simon Beaufoy, who penned “Slumdog”; Christian Colson, who produced “Slumdog”; and distribution will be handled by Fox Searchlight.

Boyle is a genre-hopping machine. It’s about time he gets the recognition he deserves. He directed “28 Days Later,” one of the best zombie/infection movies ever. 2007 gave us on of the slickest sci-fi films of late, “Sunshine.” Everyone knows what last year’s “Slumdog Millionaire” was able to achieve.

The man can tackle any genre, seamlessly. It will be intriguing to see what he does with this material. “127 Hours” will be “Cast Away”-esque in that one actor will dominate the screen mostly by himself. Early word is that the first hour of the film will contain absolutely no dialogue. Since Ralston was by himself the whole time, this would make sense. I’m not sure how marketable that idea is, but it will surely give Boyle and the yet-to-be-named actor a unique opportunity to showcase their talents.

The film is still in its early stages, but Boyle is hoping for a release date of late 2010. If he continues to produce the quality of work he’s been doing, Boyle could find himself back at the Academy Awards in 2011

Source.

By our guest blogger, Matt Jussim

Later this month, “Family Guy” will release their second "Star Wars" spoof “Something, Something, Something Dark Side,” just in time for the holidays. Creator Seth McFarlane spoke with the LA Times Hero Complex blog about plans for a third spoof of “Return of the Jedi,” and possibly others.

While McFarlane said that “Jedi” will be the last "Star Wars" spoof, if we’re lucky that won’t be the last one they do. "Indiana Jones," "Back to the Future" and "Star Trek" were some potential spoofs the creator mentioned.

He added: "The difference is that Lucas gave us the rights. Lucas agreed to let us do this, and that's a rare thing. Most legal departments are much more overprotective."

Considering that the “Back to the Future” and “Indiana Jones” series are some of my favorite movies of all time, if the show spoofed those, it has the potential to be hilarious. I can only imagine which characters they would call to play each other. Peter equipped with a whip and the iconic green hat? I could see that happening.

I’d be particularly curious to see what they would do with “Back to the Future,” which is my favorite film. Stewie as Biff? Or perhaps he could do a strange take on Marty McFly? Either way, I hope these spoofs come soon, because judging from the one’s the show have already done, they will be very funny, indeed.

Look for “Something, Something, Something Dark Side” on December 22, 2009.

By our guest blogger, Matt Jussim

Later this month, “Family Guy” will release their second "Star Wars" spoof “Something, Something, Something Dark Side,” just in time for the holidays. Creator Seth McFarlane spoke with the LA Times Hero Complex blog about plans for a third spoof of “Return of the Jedi,” and possibly others.

While McFarlane said that “Jedi” will be the last "Star Wars" spoof, if we’re lucky that won’t be the last one they do. "Indiana Jones," "Back to the Future" and "Star Trek" were some potential spoofs the creator mentioned.

He added: "The difference is that Lucas gave us the rights. Lucas agreed to let us do this, and that's a rare thing. Most legal departments are much more overprotective."

Considering that the “Back to the Future” and “Indiana Jones” series are some of my favorite movies of all time, if the show spoofed those, it has the potential to be hilarious. I can only imagine which characters they would call to play each other. Peter equipped with a whip and the iconic green hat? I could see that happening.

I’d be particularly curious to see what they would do with “Back to the Future,” which is my favorite film. Stewie as Biff? Or perhaps he could do a strange take on Marty McFly? Either way, I hope these spoofs come soon, because judging from the one’s the show have already done, they will be very funny, indeed.

Look for “Something, Something, Something Dark Side” on December 22, 2009.

By our guest blogger, Matt Jussim

With so many awards and nominations being handed out at this time of year, it's sometimes hard to distinguish which groups made the best choices or even the right choices.

Award campaigns can be more about politics than about what is really best. But one thing is certain around awards time is that the Writers Guild of America nominates some deserving candidates. This year is no different with the release of the WGA’s nominees for television writing.

I have no problems with the drama category, which is utterly stacked this year with “Breaking Bad,” “Dexter,” “Friday Night Lights,” “Lost,” and “Mad Men.”

Any of these shows would be deserving of the award, but I would love to see “Lost” win for its trippy, time-traveling fifth season. It also is great that "Friday Night Lights" is nominated for a season that found the show debuting on DirectTV and re-airing on NBC. Based on this, the show could be lame, but instead it manages to bring out some emotional drama from realistic situations that the characters cope with every week.

In comedy there’s the critical darling, "30 Rock," along with "Curb Your Enthusiasm," "Glee," "Modern Family" and "The Office."

This category is stacked as well. “Curb Your Enthusiasm” is creative and absolutely hilarious, while “Modern Family” is the best new comedy on television. Don’t even get me started on “The Office,” which in my opinion should bring home this award. The writers on that show (including stars B.J. Novak and Mindy Kaling) are just genius and write some of the best episodes on television. Hopefully, someone other than “30 Rock” wins the award, because although it’s a great show, it’s time to share the wealth.

The WGA also has an great category for Best New Series, with "Glee," "Modern Family," "The Good Wife," "Nurse Jackie" and "Hung" battling it out.

I could easily see “Glee” walking away with this award, because it must be quite a task to write a show that involves so much singing. Having said that, I’m still hoping either “Modern Family” or “Hung” pulls the upset, because both of those shows were great this season.

The Writers Guild Awards will be handed out on February 20, 2010.

By our guest blogger, Matt Jussim

With so many awards and nominations being handed out at this time of year, it's sometimes hard to distinguish which groups made the best choices or even the right choices.

Award campaigns can be more about politics than about what is really best. But one thing is certain around awards time is that the Writers Guild of America nominates some deserving candidates. This year is no different with the release of the WGA’s nominees for television writing.

I have no problems with the drama category, which is utterly stacked this year with “Breaking Bad,” “Dexter,” “Friday Night Lights,” “Lost,” and “Mad Men.”

Any of these shows would be deserving of the award, but I would love to see “Lost” win for its trippy, time-traveling fifth season. It also is great that "Friday Night Lights" is nominated for a season that found the show debuting on DirectTV and re-airing on NBC. Based on this, the show could be lame, but instead it manages to bring out some emotional drama from realistic situations that the characters cope with every week.

In comedy there’s the critical darling, "30 Rock," along with "Curb Your Enthusiasm," "Glee," "Modern Family" and "The Office."

This category is stacked as well. “Curb Your Enthusiasm” is creative and absolutely hilarious, while “Modern Family” is the best new comedy on television. Don’t even get me started on “The Office,” which in my opinion should bring home this award. The writers on that show (including stars B.J. Novak and Mindy Kaling) are just genius and write some of the best episodes on television. Hopefully, someone other than “30 Rock” wins the award, because although it’s a great show, it’s time to share the wealth.

The WGA also has an great category for Best New Series, with "Glee," "Modern Family," "The Good Wife," "Nurse Jackie" and "Hung" battling it out.

I could easily see “Glee” walking away with this award, because it must be quite a task to write a show that involves so much singing. Having said that, I’m still hoping either “Modern Family” or “Hung” pulls the upset, because both of those shows were great this season.

The Writers Guild Awards will be handed out on February 20, 2010.

By our guest blogger, Colin George

No one does hyper-masculine melodrama like Zack Snyder, and it looks like the celebrated director behind fanboy favorites “300” and “Watchmen” may be partnering with “Sin City” scribe Frank Miller once again to deliver more stupefying Spartan superfluity.

According to an article at Cinematical, Miller spoke recently with the Los Angeles Times about the project, tentatively titled “Xerxes,” after the notorious Persian king and antagonist of the first film. Miller reveals his follow-up will be a prequel, set roughly 10 years before the Battle of Thermopylae, on which “300” was loosely (loosely) based.

So, what historic skirmish sets the stage for “Xerxes?” “It’s the battle of Marathon through my lens,” Miller says. “I’ve finished the plot and I’m getting started on the artwork.”

Thematically, Marathon makes for a fitting prequel to “300,” though some may contest that the context of the fight, which again sees the Greek army attempting to thwart a seemingly insurmountable Persian invasion, is too redundant to support an additional feature-length film. Legendary Pictures, on the other hand, might direct you to their gross revenue figures for the first.

Honestly, one bout of Miller and Snyder’s self-important shouting competition was more than enough for me, but if the prospect of more derivative, green-screen fight sequences featuring hundreds of men with sprayed-on abs appeals to you, by all means begin getting pumped.

By our guest blogger, Colin George

No one does hyper-masculine melodrama like Zack Snyder, and it looks like the celebrated director behind fanboy favorites “300” and “Watchmen” may be partnering with “Sin City” scribe Frank Miller once again to deliver more stupefying Spartan superfluity.

According to an article at Cinematical, Miller spoke recently with the Los Angeles Times about the project, tentatively titled “Xerxes,” after the notorious Persian king and antagonist of the first film. Miller reveals his follow-up will be a prequel, set roughly 10 years before the Battle of Thermopylae, on which “300” was loosely (loosely) based.

So, what historic skirmish sets the stage for “Xerxes?” “It’s the battle of Marathon through my lens,” Miller says. “I’ve finished the plot and I’m getting started on the artwork.”

Thematically, Marathon makes for a fitting prequel to “300,” though some may contest that the context of the fight, which again sees the Greek army attempting to thwart a seemingly insurmountable Persian invasion, is too redundant to support an additional feature-length film. Legendary Pictures, on the other hand, might direct you to their gross revenue figures for the first.

Honestly, one bout of Miller and Snyder’s self-important shouting competition was more than enough for me, but if the prospect of more derivative, green-screen fight sequences featuring hundreds of men with sprayed-on abs appeals to you, by all means begin getting pumped.

By our guest blogger, Spencer Morton

Hooray! The 7,984 adaptation of Lewis Carroll’s “Alice in Wonderland” is on its way. Tim Burton has decided that he wants to get in on the mix. He says he wants to give the story “emotional grounding,” and a “framework” which, according to him, previous versions have lacked.

In all seriousness though, if there was ever a book Burton needed to adapt, it’s “Alice in Wonderland.” Burton’s adaptation isn’t an exact remake of the classic children’s book from 1865--it’s a whole new story. The film takes place 10 years after Alice’s original encounter with this mystical land. Now, she is 17 and is going back to fulfill her true destiny--stop the Queen of Hearts’ reign of terror.

The trailer provides a lot of new looks into what the film has in store. We’re going to get some amazing CGI, funny one-liners from most every character, and a lot of action and adventure. Burton’s wonderland certainly is dark and gloomy, but that’s what made the original cartoon so mesmerizing. Unlike Mariah Carey's world, it wasn’t all rainbows and butterflies.

From the trailer, it seems everyone involved is having a grand ole time. Johnny Depp, who plays the Mad Hatter, seems as crazy as usual. The Queen of Hearts, played by Helena Bonham Carter, seems perfect. I enjoyed her line in the trailer about how she “…loves a warm pig belly for my aching feet.” The only thing this trailer is missing is a glimpse of how they will portray the Caterpillar, played by Alan Rickman.

The past few years have seen many entries into the “family-adventure-kids-saving-the-day-in-a-magical world” genre. We had the “Chronicles of Narnia” movies, “The Golden Compass,” “Where the Wild Things Are” and all the “Harry Potter” films. So, what will set “Alice in Wonderland” apart? That’s easy--Tim Burton.

Burton has some of the keenest and most creative eyes in the business. He can take dark material, turn it into something even darker, and yet he still can provide laughs, tears and lessons applicable to the real lives of child and adult viewers.

The trailer shows that this wonderland will be a place both adults and children will enjoy. “Alice in Wonderland” hits theaters on March 5, 2010.

View the trailer for "Alice in Wonderland" below. Thoughts?

By our guest blogger, Spencer Morton

Hooray! The 7,984 adaptation of Lewis Carroll’s “Alice in Wonderland” is on its way. Tim Burton has decided that he wants to get in on the mix. He says he wants to give the story “emotional grounding,” and a “framework” which, according to him, previous versions have lacked.

In all seriousness though, if there was ever a book Burton needed to adapt, it’s “Alice in Wonderland.” Burton’s adaptation isn’t an exact remake of the classic children’s book from 1865--it’s a whole new story. The film takes place 10 years after Alice’s original encounter with this mystical land. Now, she is 17 and is going back to fulfill her true destiny--stop the Queen of Hearts’ reign of terror.

The trailer provides a lot of new looks into what the film has in store. We’re going to get some amazing CGI, funny one-liners from most every character, and a lot of action and adventure. Burton’s wonderland certainly is dark and gloomy, but that’s what made the original cartoon so mesmerizing. Unlike Mariah Carey's world, it wasn’t all rainbows and butterflies.

From the trailer, it seems everyone involved is having a grand ole time. Johnny Depp, who plays the Mad Hatter, seems as crazy as usual. The Queen of Hearts, played by Helena Bonham Carter, seems perfect. I enjoyed her line in the trailer about how she “…loves a warm pig belly for my aching feet.” The only thing this trailer is missing is a glimpse of how they will portray the Caterpillar, played by Alan Rickman.

The past few years have seen many entries into the “family-adventure-kids-saving-the-day-in-a-magical world” genre. We had the “Chronicles of Narnia” movies, “The Golden Compass,” “Where the Wild Things Are” and all the “Harry Potter” films. So, what will set “Alice in Wonderland” apart? That’s easy--Tim Burton.

Burton has some of the keenest and most creative eyes in the business. He can take dark material, turn it into something even darker, and yet he still can provide laughs, tears and lessons applicable to the real lives of child and adult viewers.

The trailer shows that this wonderland will be a place both adults and children will enjoy. “Alice in Wonderland” hits theaters on March 5, 2010.

View the trailer for "Alice in Wonderland" below. Thoughts?

By our guest blogger, Colin George

Award season is once again in full swing and the best-of lists are coming out of the woodwork to honor 2009’s finest cinematic achievements. The BFCA (Broadcast Film Critics Association, of which Week in Rewind's Christopher Smith is a member) recently announced their picks for the 15th annual Critics' Choice Movie Awards, with Quentin Tarantino’s “Inglourious Basterds” and Rob Marshall’s “Nine” leading the pack, tied at a record 10 nominations each. Both films received a nod for best picture, best cinematography, best art direction, best editing and best acting ensemble, among others.

Rounding out the CCMA best picture category are “Avatar,” “An Education,” “The Hurt Locker,” “Invictus,” “Precious,” “A Serious Man,” “Up,” and “Up in the Air.” The show airs on VH1 live Friday, January 15, 2010. A complete list of categories and nominees can be found here:

BEST PICTURE

Nominees:
• Avatar
• An Education
• The Hurt Locker
• Inglourious Basterds
• Invictus
• Nine
• Precious
• A Serious Man
• Up
• Up In The Air


BEST ACTOR

Nominees:
• Jeff Bridges - Crazy Heart
• George Clooney - Up In The Air
• Colin Firth - A Single Man
• Morgan Freeman - Invictus
• Viggo Mortensen - The Road
• Jeremy Renner - The Hurt Locker

BEST ACTRESS

Nominees:
• Emily Blunt - The Young Victoria
• Sandra Bullock - The Blind Side
• Carey Mulligan - An Education
• Saoirse Ronan - The Lovely Bones
• Gabourey Sidibe - Precious
• Meryl Streep - Julie & Julia


BEST SUPPORTING ACTOR

Nominees:
• Matt Damon - Invictus
• Woody Harrelson - The Messenger
• Christian McKay - Me And Orson Welles
• Alfred Molina - An Education
• Stanley Tucci - The Lovely Bones
• Christoph Waltz - Inglourious Basterds

BEST SUPPORTING ACTRESS

Nominees:
• Marion Cotillard - Nine
• Vera Farmiga - Up In The Air
• Anna Kendrick - Up In The Air
• Mo’Nique - Precious
• Julianne Moore - A Single Man
• Samantha Morton - The Messenger


BEST YOUNG ACTOR/ACTRESS

Nominees:
• Jae Head - The Blind Side
• Bailee Madison - Brothers
• Max Records - Where The Wild Things Are
• Saoirse Ronan - The Lovely Bones
• Kodi Smit-McPhee - The Road


BEST ACTING ENSEMBLE

Nominees:
• Inglourious Basterds
• Nine
• Precious
• Star Trek
• Up In The Air


BEST DIRECTING

Nominees:
• Kathryn Bigelow - The Hurt Locker
• James Cameron - Avatar
• Lee Daniels - Precious
• Clint Eastwood - Invictus
• Jason Reitman - Up In The Air
• Quentin Tarantino - Inglourious Basterds


BEST ORIGINAL SCREENPLAY

Nominees:
• Mark Boal - The Hurt Locker
• Joel Coen & Ethan Coen - A Serious Man
• Scott Neustadter & Michael H. Weber - (500) Days Of Summer
• Bob Peterson, Peter Docter - Up
• Quentin Tarantino - Inglourious Basterds


BEST ADAPTED SCREENPLAY

Nominees:
• Wes Anderson, Noah Baumbach - Fantastic Mr. Fox
• Neill Blomkamp, Terri Tatchell - District 9
• Geoffrey Fletcher - Precious
• Tom Ford, David Scearce - A Single Man
• Nick Hornby - An Education
• Jason Reitman, Sheldon Turner - Up In The Air

BEST CINEMATOGRAPHY

Nominees:
• The Hurt Locker
• Nine
• Avatar
• The Lovely Bones
• Inglourious Basterds


BEST ART DIRECTION

Nominees:
• A Single Man
• Avatar
• Nine
• The Lovely Bones
• Inglourious Basterds


BEST EDITING

Nominees:
• Up In The Air
• Inglourious Basterds
• The Hurt Locker
• Avatar
• Nine


BEST COSTUME DESIGN

Nominees:
• Nine
• Bright Star
• The Young Victoria
• Inglourious Basterds
• Where The Wild Things Are


BEST MAKEUP

Nominees:
• Avatar
• District 9
• Nine
• The Road
• Star Trek


BEST VISUAL EFFECTS

Nominees:
• Avatar
• District 9
• The Lovely Bones
• Star Trek
• 2012


BEST SOUND

Nominees:
• Avatar
• District 9
• The Hurt Locker
• Nine
• Star Trek


BEST ANIMATED FEATURE

Nominees:
• Cloudy With A Chance Of Meatballs
• Coraline
• Fantastic Mr. Fox
• Princess And The Frog
• Up


BEST ACTION MOVIE

Nominees:
• Avatar
• District 9
• The Hurt Locker
• Inglourious Basterds
• Star Trek


BEST COMEDY

Nominees:
• (500) Days Of Summer
• The Hangover
• It’s Complicated
• The Proposal
• Zombieland


BEST PICTURE MADE FOR TELEVISION

Nominees:
• Gifted Hands
• Grey Gardens
• Into The Storm
• Taking Chance

BEST FOREIGN LANGUAGE FILM

Nominees:
• Broken Embraces
• Coco Before Chanel
• Red Cliff
• Sin Nombre
• The White Ribbon


BEST DOCUMENTARY FEATURE

Nominees:
• Anvil
• Capitalism: A Love Story
• The Cove
• Food, Inc.
• Michael Jackson’s This Is It


BEST SONG

Nominees:
• "All Is Love" - Karen O, Nick Zinner - Where The Wild Things Are
• "Almost There" - Randy Newman - The Princess And The Frog
• "Cinema Italiano" - Maury Yeston - Nine
• "(I Want To) Come Home" - Paul McCartney - Everybody’s Fine
• "The Weary Kind" - Ryan Bingham and T Bone Burnett - Crazy Heart


BEST SCORE

Nominees:
• Michael Giacchino - Up
• Marvin Hamlisch - The Informant!
• Randy Newman - The Princess and the Frog
• Karen O, Carter Burwell - Where The Wild Things Are
• Hans Zimmer - Sherlock Holmes


Not to be outdone, the Associated Press and Time magazine’s Richard Corliss also have made their choices for best picture known:

David Germaine (AP)
The Hurt Locker
Precious
The White Ribbon
Bad Lieutenant: Port of Call New Orleans
Up
An Education
(500) Days of Summer
Passing Strange
Anvil: The Story of Anvil
The Damned United

Christy Lemire (AP)
Moon
An Education
The Hurt Locker
Up
District 9
A Serious Man
Fantastic Mr. Fox
Sugar
Passing Strange
Drag Me to Hell

Richard Corliss (Time)
The Princess and the Frog
Up
Fantastic Mr. Fox
The Hurt Locker
Up in the Air
The White Ribbon
A Single Man
Of Time and the City
District 9
Thirst

Obviously there are quite a few crossover picks, though conspicuously, none of the stand-alone critics shared the BFCA’s enthusiasm for “Basterds” or “Nine.” In fact, the only other unanimous picks were Pixar’s “Up” and Kathryn Bigelow’s “The Hurt Locker.”

I’m frankly surprised by the amount of attention both of those films are receiving, as I consider “Up” one of Pixar’s less successful animated features, and “The Hurt Locker” a topical but ultimately insubstantial action film. I am glad to see the Coen brothers’ “A Serious Man” mentioned by Lemire, among the likes of less traditional genre picks like “Moon” and “Drag Me to Hell.”

So, what do you think? Are the critical picks justified? Are “Inglourious Basterds” and “Nine” the films to remember the end of this decade by? Is social relevance enough to warrant the excessive praise for “Hurt Locker?” Are there glaring omissions?

There is no pleasing everyone, but awards season is our opportunity to hash out opinion at our most apologetically pretentious. So, have at it.

By our guest blogger, Colin George

Award season is once again in full swing and the best-of lists are coming out of the woodwork to honor 2009’s finest cinematic achievements. The BFCA (Broadcast Film Critics Association, of which Week in Rewind's Christopher Smith is a member) recently announced their picks for the 15th annual Critics' Choice Movie Awards, with Quentin Tarantino’s “Inglourious Basterds” and Rob Marshall’s “Nine” leading the pack, tied at a record 10 nominations each. Both films received a nod for best picture, best cinematography, best art direction, best editing and best acting ensemble, among others.

Rounding out the CCMA best picture category are “Avatar,” “An Education,” “The Hurt Locker,” “Invictus,” “Precious,” “A Serious Man,” “Up,” and “Up in the Air.” The show airs on VH1 live Friday, January 15, 2010. A complete list of categories and nominees can be found here:

BEST PICTURE

Nominees:
• Avatar
• An Education
• The Hurt Locker
• Inglourious Basterds
• Invictus
• Nine
• Precious
• A Serious Man
• Up
• Up In The Air


BEST ACTOR

Nominees:
• Jeff Bridges - Crazy Heart
• George Clooney - Up In The Air
• Colin Firth - A Single Man
• Morgan Freeman - Invictus
• Viggo Mortensen - The Road
• Jeremy Renner - The Hurt Locker

BEST ACTRESS

Nominees:
• Emily Blunt - The Young Victoria
• Sandra Bullock - The Blind Side
• Carey Mulligan - An Education
• Saoirse Ronan - The Lovely Bones
• Gabourey Sidibe - Precious
• Meryl Streep - Julie & Julia


BEST SUPPORTING ACTOR

Nominees:
• Matt Damon - Invictus
• Woody Harrelson - The Messenger
• Christian McKay - Me And Orson Welles
• Alfred Molina - An Education
• Stanley Tucci - The Lovely Bones
• Christoph Waltz - Inglourious Basterds

BEST SUPPORTING ACTRESS

Nominees:
• Marion Cotillard - Nine
• Vera Farmiga - Up In The Air
• Anna Kendrick - Up In The Air
• Mo’Nique - Precious
• Julianne Moore - A Single Man
• Samantha Morton - The Messenger


BEST YOUNG ACTOR/ACTRESS

Nominees:
• Jae Head - The Blind Side
• Bailee Madison - Brothers
• Max Records - Where The Wild Things Are
• Saoirse Ronan - The Lovely Bones
• Kodi Smit-McPhee - The Road


BEST ACTING ENSEMBLE

Nominees:
• Inglourious Basterds
• Nine
• Precious
• Star Trek
• Up In The Air


BEST DIRECTING

Nominees:
• Kathryn Bigelow - The Hurt Locker
• James Cameron - Avatar
• Lee Daniels - Precious
• Clint Eastwood - Invictus
• Jason Reitman - Up In The Air
• Quentin Tarantino - Inglourious Basterds


BEST ORIGINAL SCREENPLAY

Nominees:
• Mark Boal - The Hurt Locker
• Joel Coen & Ethan Coen - A Serious Man
• Scott Neustadter & Michael H. Weber - (500) Days Of Summer
• Bob Peterson, Peter Docter - Up
• Quentin Tarantino - Inglourious Basterds


BEST ADAPTED SCREENPLAY

Nominees:
• Wes Anderson, Noah Baumbach - Fantastic Mr. Fox
• Neill Blomkamp, Terri Tatchell - District 9
• Geoffrey Fletcher - Precious
• Tom Ford, David Scearce - A Single Man
• Nick Hornby - An Education
• Jason Reitman, Sheldon Turner - Up In The Air

BEST CINEMATOGRAPHY

Nominees:
• The Hurt Locker
• Nine
• Avatar
• The Lovely Bones
• Inglourious Basterds


BEST ART DIRECTION

Nominees:
• A Single Man
• Avatar
• Nine
• The Lovely Bones
• Inglourious Basterds


BEST EDITING

Nominees:
• Up In The Air
• Inglourious Basterds
• The Hurt Locker
• Avatar
• Nine


BEST COSTUME DESIGN

Nominees:
• Nine
• Bright Star
• The Young Victoria
• Inglourious Basterds
• Where The Wild Things Are


BEST MAKEUP

Nominees:
• Avatar
• District 9
• Nine
• The Road
• Star Trek


BEST VISUAL EFFECTS

Nominees:
• Avatar
• District 9
• The Lovely Bones
• Star Trek
• 2012


BEST SOUND

Nominees:
• Avatar
• District 9
• The Hurt Locker
• Nine
• Star Trek


BEST ANIMATED FEATURE

Nominees:
• Cloudy With A Chance Of Meatballs
• Coraline
• Fantastic Mr. Fox
• Princess And The Frog
• Up


BEST ACTION MOVIE

Nominees:
• Avatar
• District 9
• The Hurt Locker
• Inglourious Basterds
• Star Trek


BEST COMEDY

Nominees:
• (500) Days Of Summer
• The Hangover
• It’s Complicated
• The Proposal
• Zombieland


BEST PICTURE MADE FOR TELEVISION

Nominees:
• Gifted Hands
• Grey Gardens
• Into The Storm
• Taking Chance

BEST FOREIGN LANGUAGE FILM

Nominees:
• Broken Embraces
• Coco Before Chanel
• Red Cliff
• Sin Nombre
• The White Ribbon


BEST DOCUMENTARY FEATURE

Nominees:
• Anvil
• Capitalism: A Love Story
• The Cove
• Food, Inc.
• Michael Jackson’s This Is It


BEST SONG

Nominees:
• "All Is Love" - Karen O, Nick Zinner - Where The Wild Things Are
• "Almost There" - Randy Newman - The Princess And The Frog
• "Cinema Italiano" - Maury Yeston - Nine
• "(I Want To) Come Home" - Paul McCartney - Everybody’s Fine
• "The Weary Kind" - Ryan Bingham and T Bone Burnett - Crazy Heart


BEST SCORE

Nominees:
• Michael Giacchino - Up
• Marvin Hamlisch - The Informant!
• Randy Newman - The Princess and the Frog
• Karen O, Carter Burwell - Where The Wild Things Are
• Hans Zimmer - Sherlock Holmes


Not to be outdone, the Associated Press and Time magazine’s Richard Corliss also have made their choices for best picture known:

David Germaine (AP)
The Hurt Locker
Precious
The White Ribbon
Bad Lieutenant: Port of Call New Orleans
Up
An Education
(500) Days of Summer
Passing Strange
Anvil: The Story of Anvil
The Damned United

Christy Lemire (AP)
Moon
An Education
The Hurt Locker
Up
District 9
A Serious Man
Fantastic Mr. Fox
Sugar
Passing Strange
Drag Me to Hell

Richard Corliss (Time)
The Princess and the Frog
Up
Fantastic Mr. Fox
The Hurt Locker
Up in the Air
The White Ribbon
A Single Man
Of Time and the City
District 9
Thirst

Obviously there are quite a few crossover picks, though conspicuously, none of the stand-alone critics shared the BFCA’s enthusiasm for “Basterds” or “Nine.” In fact, the only other unanimous picks were Pixar’s “Up” and Kathryn Bigelow’s “The Hurt Locker.”

I’m frankly surprised by the amount of attention both of those films are receiving, as I consider “Up” one of Pixar’s less successful animated features, and “The Hurt Locker” a topical but ultimately insubstantial action film. I am glad to see the Coen brothers’ “A Serious Man” mentioned by Lemire, among the likes of less traditional genre picks like “Moon” and “Drag Me to Hell.”

So, what do you think? Are the critical picks justified? Are “Inglourious Basterds” and “Nine” the films to remember the end of this decade by? Is social relevance enough to warrant the excessive praise for “Hurt Locker?” Are there glaring omissions?

There is no pleasing everyone, but awards season is our opportunity to hash out opinion at our most apologetically pretentious. So, have at it.

By our guest blogger, Matt Jussim

Awards season is now in full swing, and there’s no turning back.

Released early this morning were the 2010 Golden Globe nominations, and like every year there are surprises, well-deserved nominees and, of course, snubs. Voted on by the Hollywood Foreign Press, the awards usually are a good barometer for predicting the Academy Awards, but can sometimes miss out on some well-received performances.

The Best Picture for Drama category is solid, with "Avatar," "The Hurt Locker," "Inglourious Basterds," "Precious" and "Up in the Air" receiving nominations, but I find a few snubs here a bit glaring. I was hoping to see a film like “District 9” or “A Single Man” slide in for a nomination, but that spot seemed to have been taken by “Avatar.” “The Hurt Locker" has some momentum coming off its victories of the New York and L.A. film critics in recent days, but any of the other films could win this award.

In Best Picture for Musical/Comedy, I’m surprised the Coen brothers’ "A Serious Man" was left out, but it's wonderful to see “The Hangover” nominated. Say what you will about the film, but I think it’s one of the freshest, funniest comedies to come out of Hollywood in recent memory. Also great to see "(500) Days of Summer" nominated. The quirky romantic comedy was original, and had some great acting performances by Joseph-Gordon Levitt and Zooey Deschanel.

The Best Actor (Drama) race appears to be a close contest between Jeff Bridges ("Crazy Heart") and George Clooney ("Up in the Air"). There's an outside chance we could see an upset by Colin Firth ("A Single Man") or Morgan Freeman ("Invictus"), but Tobey Maguire ("Brothers") is out of it. Two of the year’s finest acting performances were left out, Viggo Mortensen in "The Road" and Jeremy Renner for "The Hurt Locker." Both actors give the performances of a lifetime, and it’s crazy that neither got nominated.

One of the most interesting races is in the Best Director category, which finds James Cameron (“Avatar”) and his ex-wife, Kathryn Bigelow (“The Hurt Locker”), vying for the same award. The two are nominated along with Clint Eastwood (“Invictus”), Jason Reitman (“Up in the Air”), and Quentin Tarantino (“Inglourious Basterds”). Female directors are far and few between in Hollywood, especially in action films. I’ll be pulling for Bigelow, who did an amazing job with “The Hurt Locker.”

There are so many categories, I could argue about them all day, so here are some snippets about a few of the other major categories:

It’s great that Robert Downey Jr. was nominated for Best Actor (Musical/Comedy) for “Sherlock Holmes," but if he got a nom, where’s Bradley Cooper's for “The Hangover”?

Best Screenplay has full list of quality nominees, including Neill Blomkamp (“District 9”), Mark Boal (“The Hurt Locker”), and Quentin Tarantino (“Inglourious Basterds”). I loved Tarantino’s script, but I’m hoping Blomkamp gets some award love for his inventive science-fiction script.

On the television side of things, “Modern Family” picked up a nomination for Best Comedy, helping solidify it as one of the best new shows on television. But “Entourage”? I love that show, but this season wasn’t good enough, in my opinion, to warrant a nomination over shows such as “The Big Bang Theory” and “How I Met Your Mother.” Thankfully, “The Office” scored yet another nomination, as did lead actor Steve Carell, who is nothing short of genius on the show.

One thing awards do is spark debate, so what did you think? Who were the biggest snubs? Who are the favorites? We’ll find out the answers on January 17, 2010, when the Golden Globes will be awarded.

Follow is the full list of nominees:

Film:

Best Picture, Musical/Comedy
500 Days of Summer
The Hangover
It’s Complicated
Julie & Julia
Nine

Best Actor, Drama
Jeff Bridges, Crazy Heart
George Clooney, Up in the Air
Colin Firth, A Single Man
Morgan Freeman, Invictus
Tobey Maguire, Brothers

Best Actress, Drama
Emily Blunt, The Young Victoria
Sandra Bullock, The Blind Side
Helen Mirren, The Last Station
Carey Mulligan, An Education
Gabourey Sidibe, Precious

Best Actor, Musical/Comedy
Matt Damon, The Informant!
Daniel Day-Lewis, Nine
Robert Downey, Jr., Sherlock Holmes
Joseph Gordon-Levitt, 500 Days of Summer
Michael Stuhlbarg, A Serious Man

Best Actress, Musical/Comedy
Sandra Bullock, The Proposal
Marion Cotillard, Nine
Julia Roberts, Duplicity
Meryl Streep, It’s Complicated
Meryl Streep, Julie & Julia

Best Supporting Actor
Matt Damon, Invictus
Woody Harrelson, The Messenger
Christopher Plummer, The Last Station
Stanley Tucci, The Lovely Bones
Christoph Waltz, Inglourious Basterds

Best Supporting Actress
Penelope Cruz, Nine
Vera Farmiga, Up in the Air
Anna Kendrick, Up in the Air
Mo’Nique, Precious
Julianne Moore, A Single Ma

Best Director
Kathryn Bigelow, The Hurt Locker
James Cameron, Avatar
Clint Eastwood, Invictus
Jason Reitman, Up in the Air
Quentin Tarantino, Inglourious Basterds

Best Screenplay
Neill Blomkamp & Terri Tatchell, District 9
Mark Boal, The Hurt Locker
Nancy Meyers, It’s Complicated
Quentin Tarantino, Inglourious Basterds
Jason Reitman & Sheldon Turner, Up in the Air

Best Score
Up
The Informant!
Avatar
A Single Man
Where the Wild Things Are

Best Song
“Cinema Italiano,” Nine
“I Want to Come Home,” Everybody’s Fine
“I Will See You,” Avatar
“The Weary Kind,” Crazy Heart
“Winter,” Brothers

Best Animated Film
Cloudy With A Chance of Meatballs
Coraline
Fantastic Mr. Fox
The Princess & The Frog
Up

Best Foreign Language Film
Baria
Broken Embraces
The Maid
A Prophet
The White Ribbon

Television:

Best Television Series, Drama
Big Love (HBO)
Dexter (Showtime)
House (Fox)
Mad Men (AMC)
True Blood (HBO)

Best Television Series, Comedy or Musical
30 Rock (NBC)
Entourage (HBO)
Glee (FOX)
Modern Family (ABC)
The Office (NBC)

Best Performance by an Actor in a Television Series, Drama
Simon Baker, The Mentalist
Michael C. Hall, Dexter
Jon Hamm, Mad Men
Hugh Laurie, House
Bill Paxton, Big Love

Best Performance by an Actress in a Television Series, Drama
Glenn Close, Damages
January Jones, Mad Men
Julianna Margulies, The Good Wife
Anna Paquin, True Blood
Kyra Sedgwick, The Closer

Best Performance by an Actor in a Television Series, Comedy or Musical
Alec Baldwin, 30 Rock
Steve Carell, The Office
David Duchovny, Californication
Thomas Jane, Hung
Matthew Morrison, Glee

Best Performance by an Actress in a Television Series, Comedy or MusicalToni Collette, United States of Tara
Courteney Cox, Cougar Town
Edie Falco, Nurse Jackie
Tina Fey, 30 Rock
Lea Michele, Glee

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Michael Emerson, Lost
Neil Patrick Harris, How I Met Your Mother
William Hurt, Damages
John Lithgow, Dexter
Jeremy Piven, Entourage

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television Jane Adams, Hung
Rose Byrne, Damages
Jane Lynch, Glee
Janet McTeer, Into the Storm
Chloe Sevigny, Big Love

Best Mini-Series or Motion Picture Made for Television
Georgia O’Keefe (Lifetime)
Grey Gardens (HBO)
Into the Storm (HBO)
Little Dorrit (PBS)
Taking Chance (HBO)

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television
Kevin Bacon, Taking Chance
Kenneth Branagh, Wallander: One Step Behind
Chiwetel Ejiofor, Endgame
Brendan Gleeson, Into the Storm
Jeremy Irons, Georgia O’Keefe

Best Performance by an Actress in a Mini-Series or Motion Picture Made for TelevisionJoan Allen, Georgia O’Keefe
Drew Barrymore, Grey Gardens
Jessica Lange, Grey Gardens
Anna Paquin, The Courageous Heart of Irena
Sendler
Sigourney Weaver, Prayers for Bobby

By our guest blogger, Matt Jussim

Awards season is now in full swing, and there’s no turning back.

Released early this morning were the 2010 Golden Globe nominations, and like every year there are surprises, well-deserved nominees and, of course, snubs. Voted on by the Hollywood Foreign Press, the awards usually are a good barometer for predicting the Academy Awards, but can sometimes miss out on some well-received performances.

The Best Picture for Drama category is solid, with "Avatar," "The Hurt Locker," "Inglourious Basterds," "Precious" and "Up in the Air" receiving nominations, but I find a few snubs here a bit glaring. I was hoping to see a film like “District 9” or “A Single Man” slide in for a nomination, but that spot seemed to have been taken by “Avatar.” “The Hurt Locker" has some momentum coming off its victories of the New York and L.A. film critics in recent days, but any of the other films could win this award.

In Best Picture for Musical/Comedy, I’m surprised the Coen brothers’ "A Serious Man" was left out, but it's wonderful to see “The Hangover” nominated. Say what you will about the film, but I think it’s one of the freshest, funniest comedies to come out of Hollywood in recent memory. Also great to see "(500) Days of Summer" nominated. The quirky romantic comedy was original, and had some great acting performances by Joseph-Gordon Levitt and Zooey Deschanel.

The Best Actor (Drama) race appears to be a close contest between Jeff Bridges ("Crazy Heart") and George Clooney ("Up in the Air"). There's an outside chance we could see an upset by Colin Firth ("A Single Man") or Morgan Freeman ("Invictus"), but Tobey Maguire ("Brothers") is out of it. Two of the year’s finest acting performances were left out, Viggo Mortensen in "The Road" and Jeremy Renner for "The Hurt Locker." Both actors give the performances of a lifetime, and it’s crazy that neither got nominated.

One of the most interesting races is in the Best Director category, which finds James Cameron (“Avatar”) and his ex-wife, Kathryn Bigelow (“The Hurt Locker”), vying for the same award. The two are nominated along with Clint Eastwood (“Invictus”), Jason Reitman (“Up in the Air”), and Quentin Tarantino (“Inglourious Basterds”). Female directors are far and few between in Hollywood, especially in action films. I’ll be pulling for Bigelow, who did an amazing job with “The Hurt Locker.”

There are so many categories, I could argue about them all day, so here are some snippets about a few of the other major categories:

It’s great that Robert Downey Jr. was nominated for Best Actor (Musical/Comedy) for “Sherlock Holmes," but if he got a nom, where’s Bradley Cooper's for “The Hangover”?

Best Screenplay has full list of quality nominees, including Neill Blomkamp (“District 9”), Mark Boal (“The Hurt Locker”), and Quentin Tarantino (“Inglourious Basterds”). I loved Tarantino’s script, but I’m hoping Blomkamp gets some award love for his inventive science-fiction script.

On the television side of things, “Modern Family” picked up a nomination for Best Comedy, helping solidify it as one of the best new shows on television. But “Entourage”? I love that show, but this season wasn’t good enough, in my opinion, to warrant a nomination over shows such as “The Big Bang Theory” and “How I Met Your Mother.” Thankfully, “The Office” scored yet another nomination, as did lead actor Steve Carell, who is nothing short of genius on the show.

One thing awards do is spark debate, so what did you think? Who were the biggest snubs? Who are the favorites? We’ll find out the answers on January 17, 2010, when the Golden Globes will be awarded.

Follow is the full list of nominees:

Film:

Best Picture, Musical/Comedy
500 Days of Summer
The Hangover
It’s Complicated
Julie & Julia
Nine

Best Actor, Drama
Jeff Bridges, Crazy Heart
George Clooney, Up in the Air
Colin Firth, A Single Man
Morgan Freeman, Invictus
Tobey Maguire, Brothers

Best Actress, Drama
Emily Blunt, The Young Victoria
Sandra Bullock, The Blind Side
Helen Mirren, The Last Station
Carey Mulligan, An Education
Gabourey Sidibe, Precious

Best Actor, Musical/Comedy
Matt Damon, The Informant!
Daniel Day-Lewis, Nine
Robert Downey, Jr., Sherlock Holmes
Joseph Gordon-Levitt, 500 Days of Summer
Michael Stuhlbarg, A Serious Man

Best Actress, Musical/Comedy
Sandra Bullock, The Proposal
Marion Cotillard, Nine
Julia Roberts, Duplicity
Meryl Streep, It’s Complicated
Meryl Streep, Julie & Julia

Best Supporting Actor
Matt Damon, Invictus
Woody Harrelson, The Messenger
Christopher Plummer, The Last Station
Stanley Tucci, The Lovely Bones
Christoph Waltz, Inglourious Basterds

Best Supporting Actress
Penelope Cruz, Nine
Vera Farmiga, Up in the Air
Anna Kendrick, Up in the Air
Mo’Nique, Precious
Julianne Moore, A Single Ma

Best Director
Kathryn Bigelow, The Hurt Locker
James Cameron, Avatar
Clint Eastwood, Invictus
Jason Reitman, Up in the Air
Quentin Tarantino, Inglourious Basterds

Best Screenplay
Neill Blomkamp & Terri Tatchell, District 9
Mark Boal, The Hurt Locker
Nancy Meyers, It’s Complicated
Quentin Tarantino, Inglourious Basterds
Jason Reitman & Sheldon Turner, Up in the Air

Best Score
Up
The Informant!
Avatar
A Single Man
Where the Wild Things Are

Best Song
“Cinema Italiano,” Nine
“I Want to Come Home,” Everybody’s Fine
“I Will See You,” Avatar
“The Weary Kind,” Crazy Heart
“Winter,” Brothers

Best Animated Film
Cloudy With A Chance of Meatballs
Coraline
Fantastic Mr. Fox
The Princess & The Frog
Up

Best Foreign Language Film
Baria
Broken Embraces
The Maid
A Prophet
The White Ribbon

Television:

Best Television Series, Drama
Big Love (HBO)
Dexter (Showtime)
House (Fox)
Mad Men (AMC)
True Blood (HBO)

Best Television Series, Comedy or Musical
30 Rock (NBC)
Entourage (HBO)
Glee (FOX)
Modern Family (ABC)
The Office (NBC)

Best Performance by an Actor in a Television Series, Drama
Simon Baker, The Mentalist
Michael C. Hall, Dexter
Jon Hamm, Mad Men
Hugh Laurie, House
Bill Paxton, Big Love

Best Performance by an Actress in a Television Series, Drama
Glenn Close, Damages
January Jones, Mad Men
Julianna Margulies, The Good Wife
Anna Paquin, True Blood
Kyra Sedgwick, The Closer

Best Performance by an Actor in a Television Series, Comedy or Musical
Alec Baldwin, 30 Rock
Steve Carell, The Office
David Duchovny, Californication
Thomas Jane, Hung
Matthew Morrison, Glee

Best Performance by an Actress in a Television Series, Comedy or MusicalToni Collette, United States of Tara
Courteney Cox, Cougar Town
Edie Falco, Nurse Jackie
Tina Fey, 30 Rock
Lea Michele, Glee

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Michael Emerson, Lost
Neil Patrick Harris, How I Met Your Mother
William Hurt, Damages
John Lithgow, Dexter
Jeremy Piven, Entourage

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television Jane Adams, Hung
Rose Byrne, Damages
Jane Lynch, Glee
Janet McTeer, Into the Storm
Chloe Sevigny, Big Love

Best Mini-Series or Motion Picture Made for Television
Georgia O’Keefe (Lifetime)
Grey Gardens (HBO)
Into the Storm (HBO)
Little Dorrit (PBS)
Taking Chance (HBO)

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television
Kevin Bacon, Taking Chance
Kenneth Branagh, Wallander: One Step Behind
Chiwetel Ejiofor, Endgame
Brendan Gleeson, Into the Storm
Jeremy Irons, Georgia O’Keefe

Best Performance by an Actress in a Mini-Series or Motion Picture Made for TelevisionJoan Allen, Georgia O’Keefe
Drew Barrymore, Grey Gardens
Jessica Lange, Grey Gardens
Anna Paquin, The Courageous Heart of Irena
Sendler
Sigourney Weaver, Prayers for Bobby

Movie Review

"A Serious Man"

Directed by Joel and Ethan Coen, Written by the Coen brothers, 105 minutes, Rated R

By our guest blogger, Rob Stammitti

By using the book of Job and memories of their own childhood as a starting point, the Coen brothers have crafted in "A Serious Man" not a morality tale, but a tale questioning faith, fate, responsibility and culture.

Lately, the Coens seem to be obsessed with the idea of there being no point in our existence. It is random, it is merciless, and it is very often cruel. "A Serious Man" finally brings that subject to predominance. Michael Stuhlbarg's Larry Gopnik is threatened with divorce, conflict involving one of his failing physics students, his brother's troubles with the law, and anonymous letters urging his school not to grant him tenure. Why is he tortured so? He is a faithful man. He does his best as a husband, father and educator. He didn't do anything to deserve such punishment.

The truth is, the Coens seem to be saying, few do. Who cares?

As "Hashem" seemingly toys with Larry, the Coens toy with their audience. We are told stories with no purpose but to further confound us. We are given questions without answers. The Coens begin the film with their own fabricated Jewish folk tale regarding a Jewish couple's encounter with a man who may or may not be dead. The wife believes him a "dybbuk," a demon. The husband figures she's mistaken and is fine with believing the man to be alive and well, and welcomes him into their home. So, which is he? Alive or dead? This film will speak to you in entirely different ways depending on your answer.

As bleak an outlook the film may have, it is a comedy, albeit a dark one. The brothers' dialogue is at their best here and as things spiral slowly out of control for Larry, one can't help but laugh. Many have seen this as contempt for his character, but I don't think that's true. I never felt as if I was laughing at Larry, but at the very absurdity of life in general as the Coens see it. I feel very similarly about most of their previous comedies, except perhaps "Burn After Reading," where the contemptuousnous of the writing only assisted in conveying the mental and moral atrophy caused by greed.

The film also manages to be the most unique technical achievement for the brothers, it certainly is among their best movies, and as is almost always the case, they work with frequent collaborator Roger Deakins, who may very well earn his eighth Oscar nomination. The occasional use of vibrant colors and soft-focus lenses creates a frequent sense of unease. One specific image at the end of the film, which those who have seen it surely won't forget anytime soon, is truly one of the most stunning shots that's graced the screen this decade (though the Coens have always had a way with finales). The use of music is inspired as well, with multiple uses of songs from Jefferson Airplane's seminal record "Surrealistic Pillow" and Jimi Hendrix's "Machine Gun." And, as always, Coen regular Carter Burwell provides a haunting and beautiful score.

It's hard to cover everything "A Serious Man" brings to the table thematically. I haven't even scratched the surface on the themes regarding Judaism and Jewish culture, which is one of the most dense, thematic aspects of the film and which I'd surely understand more were I more familiar with the faith. There also are multiple references to theories in physics that relate to the film, and which pretty much went over my head on first viewing.

In all the dread, confusion, mystery and humor, "A Serious Man" ultimately turns out to be the Coen brothers most mature work and it stands easily alongside their very best--both comedic and dramatic.

Grade: A

Movie Review

"A Serious Man"

Directed by Joel and Ethan Coen, Written by the Coen brothers, 105 minutes, Rated R

By our guest blogger, Rob Stammitti

By using the book of Job and memories of their own childhood as a starting point, the Coen brothers have crafted in "A Serious Man" not a morality tale, but a tale questioning faith, fate, responsibility and culture.

Lately, the Coens seem to be obsessed with the idea of there being no point in our existence. It is random, it is merciless, and it is very often cruel. "A Serious Man" finally brings that subject to predominance. Michael Stuhlbarg's Larry Gopnik is threatened with divorce, conflict involving one of his failing physics students, his brother's troubles with the law, and anonymous letters urging his school not to grant him tenure. Why is he tortured so? He is a faithful man. He does his best as a husband, father and educator. He didn't do anything to deserve such punishment.

The truth is, the Coens seem to be saying, few do. Who cares?

As "Hashem" seemingly toys with Larry, the Coens toy with their audience. We are told stories with no purpose but to further confound us. We are given questions without answers. The Coens begin the film with their own fabricated Jewish folk tale regarding a Jewish couple's encounter with a man who may or may not be dead. The wife believes him a "dybbuk," a demon. The husband figures she's mistaken and is fine with believing the man to be alive and well, and welcomes him into their home. So, which is he? Alive or dead? This film will speak to you in entirely different ways depending on your answer.

As bleak an outlook the film may have, it is a comedy, albeit a dark one. The brothers' dialogue is at their best here and as things spiral slowly out of control for Larry, one can't help but laugh. Many have seen this as contempt for his character, but I don't think that's true. I never felt as if I was laughing at Larry, but at the very absurdity of life in general as the Coens see it. I feel very similarly about most of their previous comedies, except perhaps "Burn After Reading," where the contemptuousnous of the writing only assisted in conveying the mental and moral atrophy caused by greed.

The film also manages to be the most unique technical achievement for the brothers, it certainly is among their best movies, and as is almost always the case, they work with frequent collaborator Roger Deakins, who may very well earn his eighth Oscar nomination. The occasional use of vibrant colors and soft-focus lenses creates a frequent sense of unease. One specific image at the end of the film, which those who have seen it surely won't forget anytime soon, is truly one of the most stunning shots that's graced the screen this decade (though the Coens have always had a way with finales). The use of music is inspired as well, with multiple uses of songs from Jefferson Airplane's seminal record "Surrealistic Pillow" and Jimi Hendrix's "Machine Gun." And, as always, Coen regular Carter Burwell provides a haunting and beautiful score.

It's hard to cover everything "A Serious Man" brings to the table thematically. I haven't even scratched the surface on the themes regarding Judaism and Jewish culture, which is one of the most dense, thematic aspects of the film and which I'd surely understand more were I more familiar with the faith. There also are multiple references to theories in physics that relate to the film, and which pretty much went over my head on first viewing.

In all the dread, confusion, mystery and humor, "A Serious Man" ultimately turns out to be the Coen brothers most mature work and it stands easily alongside their very best--both comedic and dramatic.

Grade: A

By our guest blogger Michael Lee

It is common knowledge to many gamers that movie to game conversions rarely do well. Look at “Superman,” “E.T.,” or every “Star Wars” game ever created. All have been disappointing. “Avatar” attempts to end the curse and, while it has potential, it falls just short of breaking the trend. “Avatar” is a great looking third-person action game but is bogged down by many little things, which ultimately muddles the entire gaming experience.

As you may know, “Avatar” is based on James Camerons' movie. It follows a young soldier who goes to the planet of Pandora with the military. The military tries to take over the harsh land by taking control of the native aliens there called the Na’vi and implanting human minds into Na’vi bodies. Roughly, the game follows the same premise. You are a person in the military who goes to Pandora and is given random tasks to do like, find a person or destroy a robot. Once a task is completed, you are given a reward and then given another task. That is pretty much the entire game in a nut shell. After a while, the gaming structure gets a little tiresome and you soon forget why you’re doing this in the first place. There are certain tasks that require you to enter a Na’vi body and a little later you’re given a choice to stay human or become Na’vi for the remainder of the game. Na’vi are just stronger, faster and bluer versions of a human, a novelty that wears off pretty quickly. It’s not a bad game overall, just mediocre.

Graphically, the game is stunning. Pandora is a lush rainforest with tons of character. The plants are detailed, the rock formations are staggering and well-textured, all of which is a sight to see, especially during the flying sequences. Then again, this probably is all borrowed from the movie so you can’t really give Ubisoft credit for James Camerson’s vision. Either way, it’s beautiful. Even the character models look great. You can see definition in the muscles of characters and all the intricate details on the different alien species on Pandora. Visually, very impressive.

While the game looks great, the level design could’ve been better. There is a lot of detail with the environments but that extra detail makes it kind of difficult to see where you need to go. There is a map that helps but during the flying sequences, the map becomes almost useless due to all the rock formations and trees getting in the way. Plus, the map doesn’t have a zoom in or out so it doesn’t give you a sense of relative distance. With all the traveling you’re going to be doing, a simple feature like map zoom would’ve been nice.

Also, the gameplay is really hampered by a few minor things. One thing you notice is the character movement. You start every movement with an awkward lunge move that’s very irritating. While the lunge move only affects humans, it also affects all vehicles as well. It makes getting out of corners and flying straight practically impossible. This is also aggravated by the many trees and rocks in the environment--so, expect to run into a lot of walls. There is a leveling up system as well. With each level you gain, you acquire more abilities and stronger equipment. It’s very cut and dry but later in the game, the upside of gaining levels is virtually negated. The enemies around you level up as quickly as you do, so as you get stronger, they follow suit and do so as well. Any possible gain from stronger equipment becomes null. One final annoyance that needs to be mentioned is the auto camera. It’s usually pretty good but there are times during heated battles or near walls that the camera will do some crazy stuff.

Another thing worth mentioning is the mini game within Pandora called Conquest. At each teleportation site is the option to play Conquest, which is very similar to the game Risk. Pandora is broken into different land fragments and the objective is to control as much of the land fragments as possible with units you create from land you already control. With each fragment you conquer, you gain experience points, attack bonuses and other benefits that are used for the single-player campaign. You create units with experience points earned during the single player. Early in the game, Conquest is very hard because you can hardly build anything.  It isn't until late in the game, with all the experience points you earned, that Conquest becomes much easier.

One final aspect that deserves to be recognized is all the content and detail within the in-game encyclopedia call Pandora-pedia. It lists a wealth of data about weapons and the flora and fauna--it's a lot of data. Again, this probably is all borrowed from the movie, but it’s still  impressive.

“Avatar” is a great-looking game that has a lot of potential but which lacks some of the fine tuning that could’ve made the game soar.  Titles such as “Uncharted” or “Assassin’s Creed” might be a better choice but, if you find that you love the movie when it's released on Dec. 18, 2009, then “Avatar” the game might be a nice addition to your collection.

View a behind-the-scenes look at "Avatar" below. Thoughts?

By our guest blogger Michael Lee

It is common knowledge to many gamers that movie to game conversions rarely do well. Look at “Superman,” “E.T.,” or every “Star Wars” game ever created. All have been disappointing. “Avatar” attempts to end the curse and, while it has potential, it falls just short of breaking the trend. “Avatar” is a great looking third-person action game but is bogged down by many little things, which ultimately muddles the entire gaming experience.

As you may know, “Avatar” is based on James Camerons' movie. It follows a young soldier who goes to the planet of Pandora with the military. The military tries to take over the harsh land by taking control of the native aliens there called the Na’vi and implanting human minds into Na’vi bodies. Roughly, the game follows the same premise. You are a person in the military who goes to Pandora and is given random tasks to do like, find a person or destroy a robot. Once a task is completed, you are given a reward and then given another task. That is pretty much the entire game in a nut shell. After a while, the gaming structure gets a little tiresome and you soon forget why you’re doing this in the first place. There are certain tasks that require you to enter a Na’vi body and a little later you’re given a choice to stay human or become Na’vi for the remainder of the game. Na’vi are just stronger, faster and bluer versions of a human, a novelty that wears off pretty quickly. It’s not a bad game overall, just mediocre.

Graphically, the game is stunning. Pandora is a lush rainforest with tons of character. The plants are detailed, the rock formations are staggering and well-textured, all of which is a sight to see, especially during the flying sequences. Then again, this probably is all borrowed from the movie so you can’t really give Ubisoft credit for James Camerson’s vision. Either way, it’s beautiful. Even the character models look great. You can see definition in the muscles of characters and all the intricate details on the different alien species on Pandora. Visually, very impressive.

While the game looks great, the level design could’ve been better. There is a lot of detail with the environments but that extra detail makes it kind of difficult to see where you need to go. There is a map that helps but during the flying sequences, the map becomes almost useless due to all the rock formations and trees getting in the way. Plus, the map doesn’t have a zoom in or out so it doesn’t give you a sense of relative distance. With all the traveling you’re going to be doing, a simple feature like map zoom would’ve been nice.

Also, the gameplay is really hampered by a few minor things. One thing you notice is the character movement. You start every movement with an awkward lunge move that’s very irritating. While the lunge move only affects humans, it also affects all vehicles as well. It makes getting out of corners and flying straight practically impossible. This is also aggravated by the many trees and rocks in the environment--so, expect to run into a lot of walls. There is a leveling up system as well. With each level you gain, you acquire more abilities and stronger equipment. It’s very cut and dry but later in the game, the upside of gaining levels is virtually negated. The enemies around you level up as quickly as you do, so as you get stronger, they follow suit and do so as well. Any possible gain from stronger equipment becomes null. One final annoyance that needs to be mentioned is the auto camera. It’s usually pretty good but there are times during heated battles or near walls that the camera will do some crazy stuff.

Another thing worth mentioning is the mini game within Pandora called Conquest. At each teleportation site is the option to play Conquest, which is very similar to the game Risk. Pandora is broken into different land fragments and the objective is to control as much of the land fragments as possible with units you create from land you already control. With each fragment you conquer, you gain experience points, attack bonuses and other benefits that are used for the single-player campaign. You create units with experience points earned during the single player. Early in the game, Conquest is very hard because you can hardly build anything.  It isn't until late in the game, with all the experience points you earned, that Conquest becomes much easier.

One final aspect that deserves to be recognized is all the content and detail within the in-game encyclopedia call Pandora-pedia. It lists a wealth of data about weapons and the flora and fauna--it's a lot of data. Again, this probably is all borrowed from the movie, but it’s still  impressive.

“Avatar” is a great-looking game that has a lot of potential but which lacks some of the fine tuning that could’ve made the game soar.  Titles such as “Uncharted” or “Assassin’s Creed” might be a better choice but, if you find that you love the movie when it's released on Dec. 18, 2009, then “Avatar” the game might be a nice addition to your collection.

View a behind-the-scenes look at "Avatar" below. Thoughts?

By our guest blogger, Rob Stammitti

December is a hectic time for everybody--family's reunite for celebration, stores are packed with shoppers taking advantage of their last few days before the holiday, a New Year is slowly on its way--but there's one thing people always can do to relax and celebrate--going to the movies. So, here's a quick guide to what's coming your way this fine holiday season.


"A Single Man" (Release Date: December 11 (limited), Rated R)

The debut film of director Tom Ford is getting a lot of attention for what is being called Colin Firth's career-topping performance. The reception of the film has been generally mixed, but the praise for Firth has been near-unanimous. The film follows Firth as a Los Angeles English professor on the day of his partner's death. It looks beautifully and hypnotically made, and though I know very little about it overall, it definitely looks interesting.

"Crazy Heart" (Release Date: December 16 (limited), Rated R)

This small character drama has garnered some comparison to last year's "The Wrestler," only instead of, well, a wrestler, Jeff Bridges portrays a washed-up country singer who becomes a mentor to a young up-and-comer played by Colin Farrell. Also starring Maggie Gyllenhaal and Robert Duvall, "Crazy Heart" is enjoying much praise for Bridges' performance and there's plenty of early Oscar talk as well. It seems a bit too similar to "The Wrestler" to me, but it's hard to turn down seeing Bridges work with such heavy material when it so rarely happens these days.

"Avatar" (Release Date: December 18, Rated PG-13, also in Digital 3D and IMAX)

Without question, "Avatar" is the biggest release this season. If you haven't been talking about it, there's a good chance some of your friends, family or co-workers have. The plot takes place in the near-future and follows Jake Sully, an ex-marine who is brought on by military contractors attempting to obtain resources from the far-off planet of Pandora, but whose work is being hindered by the planet's natives. Director James Cameron made the film by combining live action and the most photo-realistic motion-capture animation yet used in film. Early footage of the film didn't really wow me, but the most recent trailer and the unanimous praise from people who have managed to see it has really got me hyped for it. I don't exactly expect an absolute revolution in filmmaking like Cameron has suggested, but I definitely expect one of the most entertaining action films in recent memory.

"Did You Hear About the Morgans?" (Release Date: December 18, Rated PG-13)

If action or sci-fi isn't your thing, then perhaps this is.  It's "Did You Hear About the Morgans?," a lighthearted romantic comedy in the vein of "For Richer or Poorer" and "City Slickers" that's directed by Marc Lawrence ("Music and Lyrics") and which stars Hugh Grant and Sarah Jessica Parker. The film follows a wealthy Manhattan couple (Grant and Parker) who witness a murder and are relocated to a small town in Wyoming. Their relationship was falling apart, but this new environment begins to bring them together again. This really isn't my kind of film, but it may very well be a great date movie for the holidays, and Lawrence has managed to spin gold from middling material before. Definitely worth a look for fans of this type of film or of Grant.

"The Young Victoria" (Release Date: December 18 (limited), Rated PG)

Fans of costume dramas surely will be interested in this, a film about the early life of Queen Victoria. She's portrayed by the wonderful Emily Blunt ("Sunshine Cleaning"). It was directed by Quebecois director Jean-Marc Vallee, whose 2005 film "C.R.A.Z.Y." received significant acclaim. As a pretty huge fan of Blunt and some of the other members of the cast (including Jim Broadbent, Paul Bettany and Mark Strong), I'm definitely looking forward to seeing it, even though costume dramas aren't ordinarily my kind of thing.

"It's Complicated" (Released Date: December 25, Rated R)

Here's another for the romantics out there. Meryl Streep plays a divorcee who begins an affair with her remarried ex-husband (Alec Baldwin). It becomes complicated (pardon the wordplay) when an architect remodeling her kitchen (Steve Martin) falls in love with her. From Nancy Meyers, who also made the romance drama-comedies "Something's Gotta Give" and "The Holiday," there seems to be something for everyone here, regardless of genre. After all, who doesn't love Meryl Streep? And Baldwin and Martin always are great to see balancing drama and comedy.

"The Imaginarium of Dr. Parnassus" (Release Date: December 25 (limited), Rated PG-13)

Fantasy lovers out there will surely be interested in this, the latest effort from master director Terry Gilliam ("Brazil," "Brothers Grimm") and the final film featuring the late Heath Ledger. It follows a theatre troupe led by Doctor Parnassus (Christopher Plummer) as they try to save the soul of his daughter from the Devil (Tom Waits). It looks to have everything typical of a Gilliam film, and the cast is so spectacular (it also includes Johnny Depp, Colin Farrell and Jude Law) that it would really be insane for anyone even remotely interested in the genre to pass it up.


"Nine" (Release Date: December 25, Rated PG-13)

"Nine" is a musical reworking of Federico Fellini's "8 1/2" from "Chicago" director Rob Marshall. Full of the sort of glitz and glam you expect from a musical of this magnitude, the film follows Italian director Guido Contini (Daniel Day-Lewis) as he deals with a creative funk and the many relationships he has with the women in his life (portrayed by an all-star cast consisting of Marion Cotillard, Penelope Cruz, Judi Dench, Fergie, Kate Hudson, Nicole Kidman and Sophia Loren). It doesn't really seem like my kind of thing, but any fan of glamorous and epic musicals likely will find a lot to like.

"Alvin and the Chipmunks: The Squeakquel" (Release Date: December 25, Rated PG)

This one's pretty self-explanatory. Picking up where the first film left off, "Squeakquel" follows Alvin and his brothers as they begin attending high school. The plot generally follows their attempt at winning the school talent show, but they find themselves facing big competition in The Chipettes. This probably is the only genuinely kid-friendly fare being released this holiday, so for those with kids, this will be your best bet.

"Sherlock Holmes" (Release Date: December 25, Rated PG-13)

This new take on the Sherlock Holmes character by "Snatch" director Guy Ritchie stars Robert Downey Jr. as the misanthropic detective and Jude Law as his partner, Dr. Watson, as they attempt to track down an escaped criminal mystic who intends to destroy the world. The film gives Holmes a whole new style, conveying him not only as a man of intellect and science, but also as a sort of action hero. There's certainly potential here, but all the trailers give me a very "League of Extraordinary Gentlemen"-esque feel, which isn't a good thing. However, the cast is phenomenal, and I'm definitely a Guy Ritchie fan, so this may be worth a look. When else will you get an opportunity to see Downey Jr. portray Holmes? He seems born for the role.

"Up in the Air" (Release Date: December 25, Rated R)

Those seeking more serious fare will certainly find something to like in "Juno" director Jason Reitman's latest movie, a dramedy starring George Clooney as a traveling downsizer. The film already has had a very limited release, but on December 25, 2009, everybody will get a chance to see what all the critics are praising. The film has been named best of the year by multiple critics and the National Board of Review, and Clooney has been getting nothing but acclaim for his performance. As for me, it's probably my most anticipated of the year.

By our guest blogger, Rob Stammitti

December is a hectic time for everybody--family's reunite for celebration, stores are packed with shoppers taking advantage of their last few days before the holiday, a New Year is slowly on its way--but there's one thing people always can do to relax and celebrate--going to the movies. So, here's a quick guide to what's coming your way this fine holiday season.


"A Single Man" (Release Date: December 11 (limited), Rated R)

The debut film of director Tom Ford is getting a lot of attention for what is being called Colin Firth's career-topping performance. The reception of the film has been generally mixed, but the praise for Firth has been near-unanimous. The film follows Firth as a Los Angeles English professor on the day of his partner's death. It looks beautifully and hypnotically made, and though I know very little about it overall, it definitely looks interesting.

"Crazy Heart" (Release Date: December 16 (limited), Rated R)

This small character drama has garnered some comparison to last year's "The Wrestler," only instead of, well, a wrestler, Jeff Bridges portrays a washed-up country singer who becomes a mentor to a young up-and-comer played by Colin Farrell. Also starring Maggie Gyllenhaal and Robert Duvall, "Crazy Heart" is enjoying much praise for Bridges' performance and there's plenty of early Oscar talk as well. It seems a bit too similar to "The Wrestler" to me, but it's hard to turn down seeing Bridges work with such heavy material when it so rarely happens these days.

"Avatar" (Release Date: December 18, Rated PG-13, also in Digital 3D and IMAX)

Without question, "Avatar" is the biggest release this season. If you haven't been talking about it, there's a good chance some of your friends, family or co-workers have. The plot takes place in the near-future and follows Jake Sully, an ex-marine who is brought on by military contractors attempting to obtain resources from the far-off planet of Pandora, but whose work is being hindered by the planet's natives. Director James Cameron made the film by combining live action and the most photo-realistic motion-capture animation yet used in film. Early footage of the film didn't really wow me, but the most recent trailer and the unanimous praise from people who have managed to see it has really got me hyped for it. I don't exactly expect an absolute revolution in filmmaking like Cameron has suggested, but I definitely expect one of the most entertaining action films in recent memory.

"Did You Hear About the Morgans?" (Release Date: December 18, Rated PG-13)

If action or sci-fi isn't your thing, then perhaps this is.  It's "Did You Hear About the Morgans?," a lighthearted romantic comedy in the vein of "For Richer or Poorer" and "City Slickers" that's directed by Marc Lawrence ("Music and Lyrics") and which stars Hugh Grant and Sarah Jessica Parker. The film follows a wealthy Manhattan couple (Grant and Parker) who witness a murder and are relocated to a small town in Wyoming. Their relationship was falling apart, but this new environment begins to bring them together again. This really isn't my kind of film, but it may very well be a great date movie for the holidays, and Lawrence has managed to spin gold from middling material before. Definitely worth a look for fans of this type of film or of Grant.

"The Young Victoria" (Release Date: December 18 (limited), Rated PG)

Fans of costume dramas surely will be interested in this, a film about the early life of Queen Victoria. She's portrayed by the wonderful Emily Blunt ("Sunshine Cleaning"). It was directed by Quebecois director Jean-Marc Vallee, whose 2005 film "C.R.A.Z.Y." received significant acclaim. As a pretty huge fan of Blunt and some of the other members of the cast (including Jim Broadbent, Paul Bettany and Mark Strong), I'm definitely looking forward to seeing it, even though costume dramas aren't ordinarily my kind of thing.

"It's Complicated" (Released Date: December 25, Rated R)

Here's another for the romantics out there. Meryl Streep plays a divorcee who begins an affair with her remarried ex-husband (Alec Baldwin). It becomes complicated (pardon the wordplay) when an architect remodeling her kitchen (Steve Martin) falls in love with her. From Nancy Meyers, who also made the romance drama-comedies "Something's Gotta Give" and "The Holiday," there seems to be something for everyone here, regardless of genre. After all, who doesn't love Meryl Streep? And Baldwin and Martin always are great to see balancing drama and comedy.

"The Imaginarium of Dr. Parnassus" (Release Date: December 25 (limited), Rated PG-13)

Fantasy lovers out there will surely be interested in this, the latest effort from master director Terry Gilliam ("Brazil," "Brothers Grimm") and the final film featuring the late Heath Ledger. It follows a theatre troupe led by Doctor Parnassus (Christopher Plummer) as they try to save the soul of his daughter from the Devil (Tom Waits). It looks to have everything typical of a Gilliam film, and the cast is so spectacular (it also includes Johnny Depp, Colin Farrell and Jude Law) that it would really be insane for anyone even remotely interested in the genre to pass it up.


"Nine" (Release Date: December 25, Rated PG-13)

"Nine" is a musical reworking of Federico Fellini's "8 1/2" from "Chicago" director Rob Marshall. Full of the sort of glitz and glam you expect from a musical of this magnitude, the film follows Italian director Guido Contini (Daniel Day-Lewis) as he deals with a creative funk and the many relationships he has with the women in his life (portrayed by an all-star cast consisting of Marion Cotillard, Penelope Cruz, Judi Dench, Fergie, Kate Hudson, Nicole Kidman and Sophia Loren). It doesn't really seem like my kind of thing, but any fan of glamorous and epic musicals likely will find a lot to like.

"Alvin and the Chipmunks: The Squeakquel" (Release Date: December 25, Rated PG)

This one's pretty self-explanatory. Picking up where the first film left off, "Squeakquel" follows Alvin and his brothers as they begin attending high school. The plot generally follows their attempt at winning the school talent show, but they find themselves facing big competition in The Chipettes. This probably is the only genuinely kid-friendly fare being released this holiday, so for those with kids, this will be your best bet.

"Sherlock Holmes" (Release Date: December 25, Rated PG-13)

This new take on the Sherlock Holmes character by "Snatch" director Guy Ritchie stars Robert Downey Jr. as the misanthropic detective and Jude Law as his partner, Dr. Watson, as they attempt to track down an escaped criminal mystic who intends to destroy the world. The film gives Holmes a whole new style, conveying him not only as a man of intellect and science, but also as a sort of action hero. There's certainly potential here, but all the trailers give me a very "League of Extraordinary Gentlemen"-esque feel, which isn't a good thing. However, the cast is phenomenal, and I'm definitely a Guy Ritchie fan, so this may be worth a look. When else will you get an opportunity to see Downey Jr. portray Holmes? He seems born for the role.

"Up in the Air" (Release Date: December 25, Rated R)

Those seeking more serious fare will certainly find something to like in "Juno" director Jason Reitman's latest movie, a dramedy starring George Clooney as a traveling downsizer. The film already has had a very limited release, but on December 25, 2009, everybody will get a chance to see what all the critics are praising. The film has been named best of the year by multiple critics and the National Board of Review, and Clooney has been getting nothing but acclaim for his performance. As for me, it's probably my most anticipated of the year.

By our guest blogger, Spencer Morton

Generally, it’s exceedingly difficult to gather any solid information on a film based on a teaser trailer. The teaser for Tron Legacy, screened at this year’s Comic-Con, is no different. However, it is interesting nonetheless.

"Tron Legacy" is the long-awaited follow-up to 1982’s "TRON." Jeff Bridges reprises his role as Kevin Flynn and Garret Hedlund will take the lead as his son, Sam Flynn. The film follows Sam as he uncovers clues about his father’s disappearance into a cyber universe 25 years before. This alternate world is dangerous, high-tech and full of fierce gladiatorial matches.

The trailer hints at what these competitions will look like. The trailer follows two men chasing each other on light cycles, futuristic motorcycle-type vehicles. They end up in an arena setting with Bridges’ character looking down at them from above. The rider dressed in green causes the other rider in blue to crash. The blue rider begs for mercy stating that, “It’s just a game.” The green rider slays him and says “Not anymore.”

End of trailer.

Not really much to take in here as far as plot is concerned, but visually we learn a lot. The light cycle chase is visually engaging. The audio is equally impressive. The cyber universe seems very dark, with light blues and greens providing illumination.

Tron Legacy will be shot in Disney Digital 3-D as well as IMAX 3-D. The effects will no doubt be top-notch. Daft Punk, electronic music mainstays, will compose the score to the film, a fitting and exciting selection.

Hedlund is an intriguing choice to take the lead. He impressed the heck out of me in “Friday Night Lights” and “Four Brothers.” It’ll be interesting to see what he does with his first primary role. Look for Bridges to continue his impressive career with another strong performance. The director of the original "TRON," Steve Lisberger, will produce the second installment, while Joseph Kosinski will make his directorial debut here.

With a release date set for December 17, 2010, there’s a lot to look forward to yet. The first still images and posters are just now being released. James Cameron’s “Avatar” started garnering hype about a year from its release, and that film is receiving phenomenal reviews. We’ll see if Tron Legacy follows suit.

View the trailer for "Tron Legacy" below. Thoughts?

By our guest blogger, Spencer Morton

Generally, it’s exceedingly difficult to gather any solid information on a film based on a teaser trailer. The teaser for Tron Legacy, screened at this year’s Comic-Con, is no different. However, it is interesting nonetheless.

"Tron Legacy" is the long-awaited follow-up to 1982’s "TRON." Jeff Bridges reprises his role as Kevin Flynn and Garret Hedlund will take the lead as his son, Sam Flynn. The film follows Sam as he uncovers clues about his father’s disappearance into a cyber universe 25 years before. This alternate world is dangerous, high-tech and full of fierce gladiatorial matches.

The trailer hints at what these competitions will look like. The trailer follows two men chasing each other on light cycles, futuristic motorcycle-type vehicles. They end up in an arena setting with Bridges’ character looking down at them from above. The rider dressed in green causes the other rider in blue to crash. The blue rider begs for mercy stating that, “It’s just a game.” The green rider slays him and says “Not anymore.”

End of trailer.

Not really much to take in here as far as plot is concerned, but visually we learn a lot. The light cycle chase is visually engaging. The audio is equally impressive. The cyber universe seems very dark, with light blues and greens providing illumination.

Tron Legacy will be shot in Disney Digital 3-D as well as IMAX 3-D. The effects will no doubt be top-notch. Daft Punk, electronic music mainstays, will compose the score to the film, a fitting and exciting selection.

Hedlund is an intriguing choice to take the lead. He impressed the heck out of me in “Friday Night Lights” and “Four Brothers.” It’ll be interesting to see what he does with his first primary role. Look for Bridges to continue his impressive career with another strong performance. The director of the original "TRON," Steve Lisberger, will produce the second installment, while Joseph Kosinski will make his directorial debut here.

With a release date set for December 17, 2010, there’s a lot to look forward to yet. The first still images and posters are just now being released. James Cameron’s “Avatar” started garnering hype about a year from its release, and that film is receiving phenomenal reviews. We’ll see if Tron Legacy follows suit.

View the trailer for "Tron Legacy" below. Thoughts?

By our guest blogger, Sarah Vaynerman

If you are somehow still not convinced that Lady GaGa is a true artist, take five minutes and watch her video for "Bad Romance," the hit single from her sophomore album, "The Fame Monster."

Aside from Lady Gaga's own video for "Paparazzi," there hasn't been a single video of the year, if not the decade, that even compares to the event that is "Bad Romance." No, that isn't hyperbole. Gaga says she chose director Francis Lawrence because he "could execute the video in a way that I could give him all my weirdest, most psychotic ideas, but it would come across to and be relevant to the public." It always is her intention to arouse her audience with risque, controversial imagery and this video is proof that she is damn good at it. The concept is credited to Haus of GaGa, her mysterious collective of trusted creatives said to be inspired by Andy Warhol's "The Factory." Haus of GaGa designs much of what she wears, and has a hefty creative stake in her album art, music videos and live performances.

Through the course of nearly a dozen costume-changes, GaGa is supported by an entourage of Russian models and mafia members who will eventually kidnap her to sell as a sex-slave. The video is about fashion--she dons Alexander McQueen's latest runway collection throughout the video. It's about innocence--set in a Bathhouse, she emerges from a spotless bathtub with pastel-colored hair and eerie, doll-like eyes. It's about money--she commands a roomful of ogling buyers while surrounded by floating diamonds. It's about glamor--she approaches her master for the first time wearing crimson-red lipstick and a bearskin robe. And it's about death--the video ends with a disturbed GaGa on a bed next to a scorched corpse.

"Bad Romance" oozes with cultural references--the video opens with an Anna Wintour-esque GaGa, she delivers three Hitchcock thriller references in two lines, (“I want your Psycho, your Vertigo stick, while you're in my Rear Window--baby, it’s sick”), and the costumes find inspiration from Janet and Michael Jackson's "Scream" and the timeless tortured souls from "Where the Wild Things Are."  Just to name a few.

Lady GaGa takes ownership of her material and with that ownership comes a responsibility that few modern-day celebrities choose to assume. GaGa has an obsession with themes of fame, media and iconography, and rather than apologizing for it, she embraces it and uses it to her creative advantage. Few female performers have ever challenged society's expectations of a pop star the way that she does. This is no Britney, Rihanna or Beyonce. GaGa doesn't tease and tickle just enough to satisfy the hungry yet remain "normal." She throws your greatest vices, sickest pleasures and biggest fears in your face and is delighted to find your eyes affixed to the screen while you drool. She is not just about fame, or fashion, or sex, or even music. She is about the message, the experience and the impact. The "Bad Romance" music video is another one of this artist's masterpieces.

“When I’m writing music, I’m thinking about the clothes I want to wear on stage. It’s all about everything altogether--performance art, pop performance art, fashion. For me, it’s everything coming together and being a real story that will bring back the super-fan … I want the imagery to be so strong that fans will want to eat and taste and lick every part of us.” - Lady GaGa

View the video for Lady GaGa's "Bad Romance" below. Thoughts?

By our guest blogger, Sarah Vaynerman

If you are somehow still not convinced that Lady GaGa is a true artist, take five minutes and watch her video for "Bad Romance," the hit single from her sophomore album, "The Fame Monster."

Aside from Lady Gaga's own video for "Paparazzi," there hasn't been a single video of the year, if not the decade, that even compares to the event that is "Bad Romance." No, that isn't hyperbole. Gaga says she chose director Francis Lawrence because he "could execute the video in a way that I could give him all my weirdest, most psychotic ideas, but it would come across to and be relevant to the public." It always is her intention to arouse her audience with risque, controversial imagery and this video is proof that she is damn good at it. The concept is credited to Haus of GaGa, her mysterious collective of trusted creatives said to be inspired by Andy Warhol's "The Factory." Haus of GaGa designs much of what she wears, and has a hefty creative stake in her album art, music videos and live performances.

Through the course of nearly a dozen costume-changes, GaGa is supported by an entourage of Russian models and mafia members who will eventually kidnap her to sell as a sex-slave. The video is about fashion--she dons Alexander McQueen's latest runway collection throughout the video. It's about innocence--set in a Bathhouse, she emerges from a spotless bathtub with pastel-colored hair and eerie, doll-like eyes. It's about money--she commands a roomful of ogling buyers while surrounded by floating diamonds. It's about glamor--she approaches her master for the first time wearing crimson-red lipstick and a bearskin robe. And it's about death--the video ends with a disturbed GaGa on a bed next to a scorched corpse.

"Bad Romance" oozes with cultural references--the video opens with an Anna Wintour-esque GaGa, she delivers three Hitchcock thriller references in two lines, (“I want your Psycho, your Vertigo stick, while you're in my Rear Window--baby, it’s sick”), and the costumes find inspiration from Janet and Michael Jackson's "Scream" and the timeless tortured souls from "Where the Wild Things Are."  Just to name a few.

Lady GaGa takes ownership of her material and with that ownership comes a responsibility that few modern-day celebrities choose to assume. GaGa has an obsession with themes of fame, media and iconography, and rather than apologizing for it, she embraces it and uses it to her creative advantage. Few female performers have ever challenged society's expectations of a pop star the way that she does. This is no Britney, Rihanna or Beyonce. GaGa doesn't tease and tickle just enough to satisfy the hungry yet remain "normal." She throws your greatest vices, sickest pleasures and biggest fears in your face and is delighted to find your eyes affixed to the screen while you drool. She is not just about fame, or fashion, or sex, or even music. She is about the message, the experience and the impact. The "Bad Romance" music video is another one of this artist's masterpieces.

“When I’m writing music, I’m thinking about the clothes I want to wear on stage. It’s all about everything altogether--performance art, pop performance art, fashion. For me, it’s everything coming together and being a real story that will bring back the super-fan … I want the imagery to be so strong that fans will want to eat and taste and lick every part of us.” - Lady GaGa

View the video for Lady GaGa's "Bad Romance" below. Thoughts?

By our guest blogger, Michaela Zanello

“Husband, father, soldier, monster,” Adolf Eichmann was a member of the Austrian Nazi party and is sometimes referred to as “the architect of the Holocaust.” Directed by Robert W. Young, the new film, “Eichmann,” is based on the final confession made by Eichmann before his execution in Israel on the May 31, 1962.

After World War II, Adolf Eichmann fraudulently obtains a laissez-passer travel document from the International Red Cross, which he then uses to flee to Argentina. Fifteen years later, the world’s most wanted man is eventually captured by Israeli intelligence operatives. Eichmann’s interrogations are conducted primarily by a young Israeli police officer by the name of Captain Anver Less. In the struggle to divulge the exactitude of Eichmann’s role in the Third Reich, a powerful battle of wills ensues between him and the captain--the outcome of which will profoundly affect the state of Israel.

In the trailer, Eichmann’s character is firmly established as that of a super villain. It is accomplished in a way, though, that almost causes the texture of the film to feel more like a graphic novel. From the character’s costumes to the environmental backdrops, the colors that are utilized in the film are mostly grays and sepias, conveying the impression of dinginess. In the trailer, however, there are frequent, episodic punctuations of sensational text set across lurid, red stripes, which, when contrasted with the film’s drab coloring, cause the film’s melodrama to be hyperbolized, especially when paired with bold sound effects and a dramatic score.

“Eichmann” stars Thomas Kretschmann, Troy Garity, Franka Potente and Stephen Fry. Aside from a motley mash of imprecise, foreign accents, the acting, as evinced in the trailer, appears to be very intense and stirring. Thomas Kretschmann looks especially good as the title character, playing the role of the evasive interrogatee with a chilling stoicism and just a hint of wryness.

View the trailer for "Eichmann" below. Thoughts?

"

By our guest blogger, Michaela Zanello

“Husband, father, soldier, monster,” Adolf Eichmann was a member of the Austrian Nazi party and is sometimes referred to as “the architect of the Holocaust.” Directed by Robert W. Young, the new film, “Eichmann,” is based on the final confession made by Eichmann before his execution in Israel on the May 31, 1962.

After World War II, Adolf Eichmann fraudulently obtains a laissez-passer travel document from the International Red Cross, which he then uses to flee to Argentina. Fifteen years later, the world’s most wanted man is eventually captured by Israeli intelligence operatives. Eichmann’s interrogations are conducted primarily by a young Israeli police officer by the name of Captain Anver Less. In the struggle to divulge the exactitude of Eichmann’s role in the Third Reich, a powerful battle of wills ensues between him and the captain--the outcome of which will profoundly affect the state of Israel.

In the trailer, Eichmann’s character is firmly established as that of a super villain. It is accomplished in a way, though, that almost causes the texture of the film to feel more like a graphic novel. From the character’s costumes to the environmental backdrops, the colors that are utilized in the film are mostly grays and sepias, conveying the impression of dinginess. In the trailer, however, there are frequent, episodic punctuations of sensational text set across lurid, red stripes, which, when contrasted with the film’s drab coloring, cause the film’s melodrama to be hyperbolized, especially when paired with bold sound effects and a dramatic score.

“Eichmann” stars Thomas Kretschmann, Troy Garity, Franka Potente and Stephen Fry. Aside from a motley mash of imprecise, foreign accents, the acting, as evinced in the trailer, appears to be very intense and stirring. Thomas Kretschmann looks especially good as the title character, playing the role of the evasive interrogatee with a chilling stoicism and just a hint of wryness.

View the trailer for "Eichmann" below. Thoughts?

"

By our guest blogger, Rob Stammitti

2009 has been a pretty strong year for cinema, and to further prove, that the American Film Institute has announced their list for the ten best films of this year.  The list, from AFI (alphabetical):

"Coraline"
"The Hangover"
"The Hurt Locker"
"The Messenger"
"Precious: Based on the Novel 'Push' by Sapphire"
"A Serious Man"
"A Single Man"
"Sugar"
"Up"
"Up in the Air"

I've seen an awful lot of movies from this year, but there are still a few on the list I haven't managed to catch yet: "The Messenger," "Precious," "A Single Man," "Sugar" and "Up in the Air." But other than those, I can definitely say the list is pretty great. The two animated inclusions, "Coraline" and "Up," though not quite on par with Wes Anderson's "Fantastic Mr. Fox," are both absolutely wonderful and all three will very likely be deservedly going on to compete for the Best Animated Film Oscar (probably along with Disney's "Princess and the Frog," which I haven't seen just yet).

"The Hurt Locker" is one of the best films about the Iraq War made yet, if not the best, and Kathryn Bigelow shows more assured and mature direction than in her entire decades-long career. As many have said, Jeremy Renner gives an absolutely incredible lead performance.

"A Serious Man" is pretty easily the best film I've seen this year. The most unique and intriguing work from the Coen brothers in decades, and their toying with the audience and questions regarding fate, faith and responsibility make it one of the most thoughtful and undoubtedly bleak entries in their oeuvre.

"The Hangover" is probably the most unexpected entry in the list. I wasn't completely blown away myself, but it's definitely one of the funniest films of the year and it's one of the most refreshing and well-acted comedies I've seen in a long while. Many moments do fall into more broad comedy, though, and that hinders it somewhat. Still, entertaining is entertaining--and "Hangover" was most definitely that.

Regarding the entries I haven't seen--"Precious" holds very little of interest for me, but I'll likely give it a look anyway just to see what all the talk is about. "A Single Man" looks excellent if only for what is surely Colin Firth's best performance. I don't know much about "The Messenger," but I greatly admire lead actor Ben Foster and will definitely look into it further. I have a vague interest in "Sugar" simply because I adored the filmmakers' previous film, "Half Nelson." And "Up in the Air" is easily my most anticipated film of this season. I love Jason Reitman and George Clooney, so I'm sure to enjoy it in some capacity.

By our guest blogger, Rob Stammitti

2009 has been a pretty strong year for cinema, and to further prove, that the American Film Institute has announced their list for the ten best films of this year.  The list, from AFI (alphabetical):

"Coraline"
"The Hangover"
"The Hurt Locker"
"The Messenger"
"Precious: Based on the Novel 'Push' by Sapphire"
"A Serious Man"
"A Single Man"
"Sugar"
"Up"
"Up in the Air"

I've seen an awful lot of movies from this year, but there are still a few on the list I haven't managed to catch yet: "The Messenger," "Precious," "A Single Man," "Sugar" and "Up in the Air." But other than those, I can definitely say the list is pretty great. The two animated inclusions, "Coraline" and "Up," though not quite on par with Wes Anderson's "Fantastic Mr. Fox," are both absolutely wonderful and all three will very likely be deservedly going on to compete for the Best Animated Film Oscar (probably along with Disney's "Princess and the Frog," which I haven't seen just yet).

"The Hurt Locker" is one of the best films about the Iraq War made yet, if not the best, and Kathryn Bigelow shows more assured and mature direction than in her entire decades-long career. As many have said, Jeremy Renner gives an absolutely incredible lead performance.

"A Serious Man" is pretty easily the best film I've seen this year. The most unique and intriguing work from the Coen brothers in decades, and their toying with the audience and questions regarding fate, faith and responsibility make it one of the most thoughtful and undoubtedly bleak entries in their oeuvre.

"The Hangover" is probably the most unexpected entry in the list. I wasn't completely blown away myself, but it's definitely one of the funniest films of the year and it's one of the most refreshing and well-acted comedies I've seen in a long while. Many moments do fall into more broad comedy, though, and that hinders it somewhat. Still, entertaining is entertaining--and "Hangover" was most definitely that.

Regarding the entries I haven't seen--"Precious" holds very little of interest for me, but I'll likely give it a look anyway just to see what all the talk is about. "A Single Man" looks excellent if only for what is surely Colin Firth's best performance. I don't know much about "The Messenger," but I greatly admire lead actor Ben Foster and will definitely look into it further. I have a vague interest in "Sugar" simply because I adored the filmmakers' previous film, "Half Nelson." And "Up in the Air" is easily my most anticipated film of this season. I love Jason Reitman and George Clooney, so I'm sure to enjoy it in some capacity.

By our guest blogger, Matt Jussim

Mel Gibson will direct and Leonardo DiCaprio will star in a Viking culture-themed untitled period drama for Icon Films, reports Variety.

According to the site: "Kingdom of Heaven" and "The Departed" scribe William Monahan pens the script though plot details are being kept under wraps. Graham King will produce with Gibson and Tim Headington in a co-production between King’s GK Films and Gibson’s Icon Productions. Shooting is expected to begin fall 2010, meaning that if everything falls into place, it would be the next directing effort for Gibson.

Said King: “This will be an awe-inspiring story, created with some of the industry’s finest cinematic talent and I am just over the moon to be making this film with Mel, Leo and Bill.” The producer teamed with DiCaprio and Monahan in the Oscar-winning drama “The Departed,” and just worked with Gibson and Monahan in the Martin Campbell-directed drama “Edge of Darkness.”

DiCaprio will likely take a film before this project. He just completed the Christopher Nolan-directed “Inception” for Warner Bros., and will next be seen in the Martin Scorsese-directed “Shutter Island,” which Paramount releases February 19, 2010.

This is the first time DiCaprio and Gibson will team on a project. Having the two Hollywood giants in the same room is a promising idea, and the subject matter seems perfect for both. DiCaprio has long been fascinated by Viking culture, and Gibson’ has directed other period pieces including “Braveheart,” “The Passion of the Christ” and “Apocalypto.”

Look out for the project sometime in 2011.

By our guest blogger, Matt Jussim

Mel Gibson will direct and Leonardo DiCaprio will star in a Viking culture-themed untitled period drama for Icon Films, reports Variety.

According to the site: "Kingdom of Heaven" and "The Departed" scribe William Monahan pens the script though plot details are being kept under wraps. Graham King will produce with Gibson and Tim Headington in a co-production between King’s GK Films and Gibson’s Icon Productions. Shooting is expected to begin fall 2010, meaning that if everything falls into place, it would be the next directing effort for Gibson.

Said King: “This will be an awe-inspiring story, created with some of the industry’s finest cinematic talent and I am just over the moon to be making this film with Mel, Leo and Bill.” The producer teamed with DiCaprio and Monahan in the Oscar-winning drama “The Departed,” and just worked with Gibson and Monahan in the Martin Campbell-directed drama “Edge of Darkness.”

DiCaprio will likely take a film before this project. He just completed the Christopher Nolan-directed “Inception” for Warner Bros., and will next be seen in the Martin Scorsese-directed “Shutter Island,” which Paramount releases February 19, 2010.

This is the first time DiCaprio and Gibson will team on a project. Having the two Hollywood giants in the same room is a promising idea, and the subject matter seems perfect for both. DiCaprio has long been fascinated by Viking culture, and Gibson’ has directed other period pieces including “Braveheart,” “The Passion of the Christ” and “Apocalypto.”

Look out for the project sometime in 2011.

By our guest blogger, Matt Jussim

Director Todd Phillips has divulged details on the sequel to his massively successful film, "The Hangover," and says that editing is underway on "Due Date," his next project, reports Coming Soon.

According to the site: Phillips is in the process of cutting down “Due Date” from 125 minutes to about 100. Said Phillips: "I always subscribe to that number--it should be 100 minutes. So, that's always around where it lands. I love editing. Editing, you have to be ruthless on yourself. Sometimes you look at a scene, it took three days to shoot, it costs so much money, it was all these things. You have to forget all that when you're editing. This slows the movie down… bye. Or this isn't working… bye. It's time to get ruthless when you're editing. I love that part actually."

The director also added that everyone on the set, including star Robert Downey Jr., were in awe of scene-stealer Zach Galifianakis. “He's totally different (in "Due Date") than he is in 'The Hangover,” said Phillips.

In “Due Date” the story centers on a high-strung father-to-be (Downey Jr.), who is forced to hitch a ride with a college slacker (Galifianakis) on a road trip in order to make it to his child's birth on time.

The director also says he's currently working on the script for "The Hangover" sequel, which will start shooting this summer for a Memorial Day 2011 release.

Fans hoping for a return to Sin City shouldn’t hold their breaths: "What's really ultimately appealing about 'The Hangover' is these four guys and their interaction. It's not even Vegas. It's not so much the device as it is the characters… you can take those guys and put them somewhere else and go through a new set of situations and circumstances, and hopefully it's just as interesting.”

But the director didn’t add where the new film will take place. Said Phillips: "I've been instructed by Warner’s not to, but I think you'll be surprised by the setting and the circumstances of how they end up there."

Phillips has been making hilarious movies for years, including “Old School," “Road Trip” and “Starsky and Hutch,” but until the mega-success of “The Hangover,” he hadn’t received all the recognition I felt he deserved. But now that’s changed, and with these two projects on the horizon (both looking to be very funny), he appear to be on course to continue that streak.

Pairing Downey Jr. and Galifianakis is a genius move, and surprisingly I find myself more excited for “Due Date” than I am about the “Hangover” sequel.

“Due Date” will be released in November 2010.

By our guest blogger, Matt Jussim

Director Todd Phillips has divulged details on the sequel to his massively successful film, "The Hangover," and says that editing is underway on "Due Date," his next project, reports Coming Soon.

According to the site: Phillips is in the process of cutting down “Due Date” from 125 minutes to about 100. Said Phillips: "I always subscribe to that number--it should be 100 minutes. So, that's always around where it lands. I love editing. Editing, you have to be ruthless on yourself. Sometimes you look at a scene, it took three days to shoot, it costs so much money, it was all these things. You have to forget all that when you're editing. This slows the movie down… bye. Or this isn't working… bye. It's time to get ruthless when you're editing. I love that part actually."

The director also added that everyone on the set, including star Robert Downey Jr., were in awe of scene-stealer Zach Galifianakis. “He's totally different (in "Due Date") than he is in 'The Hangover,” said Phillips.

In “Due Date” the story centers on a high-strung father-to-be (Downey Jr.), who is forced to hitch a ride with a college slacker (Galifianakis) on a road trip in order to make it to his child's birth on time.

The director also says he's currently working on the script for "The Hangover" sequel, which will start shooting this summer for a Memorial Day 2011 release.

Fans hoping for a return to Sin City shouldn’t hold their breaths: "What's really ultimately appealing about 'The Hangover' is these four guys and their interaction. It's not even Vegas. It's not so much the device as it is the characters… you can take those guys and put them somewhere else and go through a new set of situations and circumstances, and hopefully it's just as interesting.”

But the director didn’t add where the new film will take place. Said Phillips: "I've been instructed by Warner’s not to, but I think you'll be surprised by the setting and the circumstances of how they end up there."

Phillips has been making hilarious movies for years, including “Old School," “Road Trip” and “Starsky and Hutch,” but until the mega-success of “The Hangover,” he hadn’t received all the recognition I felt he deserved. But now that’s changed, and with these two projects on the horizon (both looking to be very funny), he appear to be on course to continue that streak.

Pairing Downey Jr. and Galifianakis is a genius move, and surprisingly I find myself more excited for “Due Date” than I am about the “Hangover” sequel.

“Due Date” will be released in November 2010.