Recount (TV movie)

HBO couldn't resist, in this election year, to make a definitive film about the 2000 election nuttiness. Even though it might not be fairly balanced, it's really good. They skip over most of the election to just what happened after Election Day, and though it is a great ensemble cast, the protagonist is clearly Kevin Spacey. Ah, I missed the Spaceman. Really bad. He's excellent as Ron Klain, a guy who helped Gore through the recount even as he was having issues with the VP. On his side are Dennis Leary, John Hurt, and Ed Begley Jr. (natch). The opposing side comes with Tom Wilkinson, who plays James Baker a little bit too boss-villain-y, and Laura Dern, who makes Katherine Harris look overwhelmed. Bob Balaban is the only nice guy on the GOP side. I mean, I felt it could be real, but I'm biased.

Like I said, it's not exactly a balanced story, but they are trying to paint the Dems as underdogs rising up in adversity. They had to push through public outrage and lots of legal difficulties, and they never had the "lead" as reported by media, which hurt. The film touches on the voter discrimination problems, but doesn't accuse too much. The worst facet probably is that the Republicans basically paid for their protesters and then encouraged them to riot in the local voting offices. This claim has been made before, so who knows. It brought back some bad memories for me, and of course, the last 8 years kinda... well, you know.

It may not be fair, but it's really good, and it's a great return for Spacey.

films in brief

Here are some short reviews for a few things I saw recently.

FORGETTING SARAH MARSHALL - 2008 (in theaters) -

Just like most Apatow projects, this is a relaxed comedy with romantic tinges; a relationship story with some great gags. Jason Segal is a lovable lunk, and Mila Kunis steps it up as his new love interest. The comedy comes in moments here and there, and it's good but not overwhelming. I just love Segel, Kristen Bell, Jack McBrayer, and Paul Rudd too much to give it a bad name. It's decent comedy without much fanfare.


DOGVILLE - 2003 -

I'll be honest. I have no idea what to make of it. I wanted to see this for years and I finally got around to it and, well, let's just say that Lars von Trier is an intriguing director. This looks like a play, but it's a film: an original concept, shot on a stage, but with no audience, and with some of the set fixtures missing.... like, I don't know, WALLS! Yeah.... very strange way of filming, mixing theater standards with film and leaving that out. I think it could be comparable to dark stage plays like Ibsen. I also thought of William Faulkner, not that this is the same class as those great writers, but that's kind of the dark tone. It goes in weird directions, but the cast is amazing. Lauren Bacall jumped in and Nicole Kidman had just won an Oscar when she did this.

I'm torn because I think he could've done well if he shot it normally, but of course he won't, because he started that whole Dogma 95 movement and he has to be different. I found that a lot of people think it's anti-American, but it seems more to me like a dark examination of human nature, especially regarding the myth of small towns making good people. If you like indie or foreign pieces, it's def worth a look, but know that it's three hours long and a trip.

LUST, CAUTION - 2007 (just out on DVD) -

Ang Lee's erotic thriller is a strong period piece. In 1930's China, a woman caught up in rebellion tries to get close to a powerful government man. This starts a little slow, but picks up dramatically towards the end. Beautiful, intense, and emotional, this might have lost audiences because of its rough sexual scenes, but it's a very good drama.

THE BRAVE ONE - 2007 (just out on DVD) -

I skipped this Jodie Foster drama last year, skeptical of vigilante films, and it most certainly is that. But then I saw that it's also directed by Neil Jordan, who does a lot of sensitive and gender-confusing fare (The Crying Game, Breakfast on Pluto), so it shouldn't be totally macho. Foster, a popular NPR-type radio host in New York, goes into full revenge mode when some thugs kill her husband (Sayid from Lost). She also befriends a detective, Terence Howard, who starts to wonder about her intentions, while unknowingly steering her towards a crime boss he can't convict. This is emotional and pretty dark, and I'm not sure if the message is deeper than I want it to be. I can't imagine Jordan ever wanting to remake Death Wish with a female lead, but I get that feeling here. Maybe there's more than I see, and I suggest taking a look. It's gripping, but does it take sides too easily?

Sicko

I wanted to pair this with No End in Sight. It took longer to get to, but was similar: another nominated documentary, another guy telling me things I know. Really, Michael Moore, you think health care is a problem in this country? You think I didn't know that after my leg almost fell off and I had to triangulate three doctors in Orange County who didn't understand that my health insurance was fully transferable under my mother's work plan? Yes, I've been through it. I know it sucks. I know almost all of Europe has much better plans; that's not news, it's been well-documented for years.

I give him credit, however, for not taking the spotlight as much as he has done before. He focused on other people, and gave a lot of stories about how ridiculous things get. He's making his case, not as an impartial observer, but as a rabble-rouser, which is his real position. But that's okay. He's trying to get something positive done, and he's very clear in this that America's health coverage is s--t and we could do much better. Other countries that don't have the resources are thriving. Get on the ball and think about it in November. Yes, yes, I get it. Don't we all? I guess we need him to make this obvious to everyone else.

films in brief

More quick reviews....

Be Kind Rewind -

This is a loopy, crazy, not-all-that realistic film. But since when has Gondry been interested in realism? He's more determined to find creative ways to shoot things from a childlike perspective, and this lets him do that, as JB and Mos put together amateur remakes. It's fun and heart-warming, even if seemingly stupid at points.

Things We Lost in the Fire -

This overlooked drama didn't get much attention last year, but it should have. It features a great performance by Benicio Del Toro as a junkie who moves in with his best friend (DUCHOVNY!!!)'s family after said best pal dies (I know, it's sad to have Duchovny and then see him pulled away). His wife is Halle Berry, and his house is nice, but it's an awkward arrangement. This probably turned off people because it has the cliches of a typical indie relationship drama, but the performances are good (even Berry) and the pain seems real. Add Benicio to the lost of actors who couldn't get any notice last year.

Dead Again -

Back in 1991, Kenneth Branagh took a break from Shakespeare to direct and star in a supernatural murder mystery. It's funny to see him as a sarcastic 80's L.A. cop, but he pulls it off. He tries to help out amnesia victim Emma Thompson, who may have known him in a past life, as may have other crazy people. This has some interesting twists and enough suspense to make it worth watching.

King of California -

This likable quirkfest about a crazy guy who's still endearing (Michael Douglas, channeling good comedy vibes) is a solid pick. Read the Bill Wine review, it will give you everything I wanted to say.

http://www.kyw1060.com/pages/1037815.php?


Harry Potter and the Prisoner of Azkaban -

The only J.K. Industries film I hadn't seen all the way through was this, the third, which is when it really began to pick up. The kids are older, the stories are darker, and new characters are better (David Thewilis, Gary Oldman, and Timothy Spall all appear here). Also, they finally got a real director (Alfonso Cuaron). This is almost 2 and a half hours, but doesn't seem like it.

La Vie En Rose -

The film that got Marion Cotillard a surprise Oscar details the life of Edith Piaf. Like a lot of the recent musician biopics, it's got problems dramatically but the performances are amazing. Cotillard, a shy, soft-spoken, gorgeous actress, completely transforms into this wild, frightening, furious singer. The story moves around a lot, with flashbacks and flash forwards, which could have been smoother, but the imagery and the fire that she gives are great. The structure can be annoying, and the drama goes overboard, but you can't take your eyes off Cotillard for one second.

Post-awards blues, films in brief

I've been in my post-Oscar daze for several days now, or is it weeks? I was stunned by a show that didn't infuriate me for once. I was happy with most of the winners, and left kind of subdued by the whole thing. It was pretty low key. I am now in the weird state of not being upset.

The Independent Spirit Awards were much feistier. Rainn Wilson had some wild fun and I might have liked some of the winners there better (Tamara Jenkins and the almighty Phil finally got some rec for The Savages). For the foreign film category, people had to choose between Once, Persepolis, Lady Chatterly, and two very highly rated films that I want to see.... that's tough.

Some reviews.....

Margot at the Wedding -

Much like Who's Afriad of Virgina Woolf and other such emotional train wrecks, this a fun look at dysfunction. Nicole Kidman and Jennifer Jason Leigh are sisters from a privileged but crazy family who haven't spoken in years. Now they are putting it aside to celebrate Leigh's wedding to Jack Black, except that they're still bitter and sniping at each other. Both these actresses are great as unstable people who keep undermining each other, and there are fine supporting roles by JB (keeping comedy), Ciarin Hinds, John Turturro, and some good kid actors. This builds up a fine mess, but then... well, it's over too soon. Noah Bambauch almost had a considerable follow-up to the Squid and the Whale, but he might have done more... although, he's made his point. This family is effed up, and it's not stopping.

Rocket Science -

I almost saw this at the L.A. festival, but it was sold to an indie distributor. It seems right out of the Thumbsucker / Napoleon Dynamite / Igby Goes Down mode of a quirky film about a teenager trying to fit in and adjust to life. It's not anything new in the Sundance world, but it is enjoyable. The kids in this are funny, and the classic underdog story goes off track enough to make it different. Watch for Claire's flying boyfriend from Heroes.

Also, this has one big thing going for it: newcomer Anna Kendrick. She was very good. I hear she is getting a ton of offers now, and I hope to see more of her.

George Washington -

I'd wanted to see the first film of David Gordon Green, a new age indie guy who loves to make slice-of-life, realism driven, uncompromising films. Like his hero Terrence Malick, he gets a lot of great visuals out of the forgotten parts of the country. The problem with making things so much like reality is that the story can drag. Here, it seems like just a big picture of a poor Southern town, but when a boy accidentally dies, it picks up. This was pretty impressive for a young guy without any money or major actors (it was a festival sensation a few years ago). For those interested in this wave of indie neo-realism, it's an important piece.

Gone Baby Gone -

Maybe the biggest surprise of the year for me was finding out that people were praising Ben Affleck. He was getting good marks for directing and his brother for acting. I was skeptical, but it's true: Baffleck is remarkable behind the camera. This is a solid drama with some intense moments that that really hooked me. Casey Affleck is good as a detective who has to ask on some of his shady old pals to help him find a missing girl. I'm still wondering if Amy Ryan got snubbed too hard, because she does great in the most unflattering role a woman can have. Ed Harris and Morgan Freeman add with their usual charm, but Baffleck gets the most out of the supporting people, some of whom were real drifters from Mass. He builds up an interesting story that goes into unexpected places, and ends with a tough question. It's a strong emotional pull. In fact, I was thinking how this is really the movie that Mystic River was trying to be, but it doesn't fall apart at the end. Yes, it's good. Who knew? I can only hope that a certain someone realizes that he should never act again and stay behind the camera.

The Quiet American (2003)

Love and war make for an interesting combination in The Quiet American. This fine adaptation of Graham Greene’s novel of the same name focuses on the love triangle between a British journalist, his Vietnamese lover, and a mysterious American in 1952 Vietnam. It also hints at the beginning of the war in Vietnam with the Americans.
Michael Caine stars as Thomas Fowler, an old British reporter sending out wire stories to his London newspaper. The film opens with the death of Fowler’s American friend, and the majority of the movie is a flashback by Fowler as he recounts his interactions with this man.
The real story begins when Fowler, who has already been in Saigon for several years, meets with Alden Pyle (Brendan Fraser), a young American medical volunteer. Fowler enjoys the American’s good-natured manner and shows him around the exotic nightlife of Saigon. When Pyle sees Fowler’s beautiful Vietnamese mistress, Phuong (Do Thi Hai Yen), he falls in love immediately.
The problem for Fowler is that he can’t get his wife in England to divorce him, despite the fact that he hasn’t seen her for years. Phuong wants to get away from increasingly violent Vietnam, and her sister (Pham Thi Mai Hoa) demands that Phuong marry someone properly. Pyle offers shelter, true marriage, and financial stability to Phuong. When Fowler is caught lying to her about marriage, she leaves him for Pyle.
From here, the story takes a different direction. Fowler, depressed and angry, turns his thoughts toward the war. The French have been struggling with the communists, and the arrival of more Americans to help intrigues him. He is surprised to see how a new party’s general, Thé (Quang Hai), can gather resources so quickly. Fowler suspects that the Americans are helping this new faction get supplies.
Fowler also begins to question Pyle’s true reasons for coming to Vietnam. At first, Pyle seems like an honest, bright-eyed, idealistic American youth. He and his fellow Americans, however, are always lurking around the new party’s camp. Fowler initially wants to be an impartial observer, but he eventually questions the underground dealings of the Americans. When he witnesses a suspicious bombing, his fears rise. He questions Pyle and discovers that the American’s idealism has many sides. The movie ends as it started, with the American dead and Fowler questioning his situation.
Director Phillip Noyce (Patriot Games, The Bone Collector) portrays 1952 Vietnam beautifully. He effectively captures both the dark tone of the war and the romantic background of Saigon. The opening sequence with Fowler remarking on the beauty of the country (while bombs light up the sky) only emphasizes the tragedies that are to come. Caine performs well for his role as the gentlemanly Fowler. Fraser’s schoolboy looks and gee-whiz attitude are perfect for his character, who seems very naive. Yen quietly displays great sensuality and devotion to the two men.
The emphasis on the love triangle may disappoint those looking for an explosive Vietnam War film, but it is essential to the story. There are some questions about the ending, and some of the details have been left out of the book, but the film remains very well made. The tension between the different groups in Vietnam becomes very evident in this excellent drama. The comparison between love and war does as well.

Oscar preview

Here it is! My annual Oscar Night awards. My picks for the big night, as well as my own personal awards for all things in film.

First, some last minute reviews:

White Noise 2 -

In between all the award hopefuls, we had to fit in a straight-to-DVD sequel of a horror film that wasn't even successful. BUT, this one stars Nathan Fillion instead, which is a nice surprise. And it doesn't really have anything to do with electronic recording as much as it does with a man getting powers after a near-death experience - which makes it more of a low-budget mix of The Dead Zone and that awful Jessica Alba movie that just came out, as well as copying off of various X Files episodes, than a sequel. After his NDE, Fillion can tell if people are going to die soon, and he begins to save them. Sounds normal, but then he finds out that saving them ruins their natural time-line, and creates even more chaos... chaos the devil himself may be behind. That was cool. This still has too many bad actors and cheap scares to be good, but if they just invested a little more, it would have been interesting. Fillion deserves better.

American Gangster -

I was a little skeptical of this when it hit theaters, having grown tired of the Russ Crowe and Ridley Scott combo, not to mention Denzel trying too hard. This is, however, pretty good. Scott cuts down a lot of excess and goes for a real crime story, almost like Goodfellas with black people. The dual storylines of Crowe as a detective and Washington as the crime boss work together to make a story about the drug trade in New York in the 70's. Denzel cools it down here, not going too crazy, which works for his criminal, who treats his business like, well, a real business. After a long start with loads of information, this starts growing into an intense action crime drama. More interesting is how the real story ended, with the two main people becoming friends and even allies in bringing down corruption. So, this is worthy of a lot of praise. It might have the most random supporting cast ever (RZA, Josh Brolin, Armand Assante, the guy who was Buffalo Bill), and more.

Grindhouse -

Yeah, I know, I waited too long to see it initially and then they split it up. I really couldn't pay for both after that, no matter how much I wanted to, but using free passes, I decided to get both sides of this schlock-fest.

Planet Terror, Robert Rodriguez's part, might have topped Kill Bill for the title of Most Ridiculous (but Fun) Movie Ever. It's hard to say, because I've seen a lot of films that could be described as "utterly ridiculous." This one has so much cheap laughs, cheap gore, and cheap melodrama, though, that I can't handle it. It's genius-ly trashy, with the random cast to prove it.

Death Proof was a little calmer... just slightly... and maybe not as good, but still fun. I would've just liked to have been on the set when Tarantino was ogling Kurt Russell with 100 questions about John Carpenter and such.

Of course, the best part was the fake trailers in between, especially DON'T! Which ought to seal the Hot Fuzz team as a great writing force. Although, I think I read a couple scripts at my last job that were just like Machete... but they were serious. Maybe they can use that trailer and just pretend.


PICKS


So what are the award picks for my best of the year? I'll do this by giving what SHOULD win/be nominated vs. what I PREDICT will win. I should note that this year, my favorite films aren't necessarily my picks for Best Picture. I'll give you my best films of the year list here, not my favorites. I'd rank Hot Fuzz and The Ten as my favorites of the year, but I wouldn't vote for them for the big one.

BEST ORIGINAL SCREENPLAY:

Actual nominees: Juno, The Savages, Michael Clayton, Lars and the Real Girl, Ratatouille

My top five: The Savages, Michael Clayton, Hot Fuzz, Fay Grim, Eastern Promises

I know Juno will win, since it keeps winning every writing award and people are so in love with it. Don't get me wrong, it's nice, and a hell of a first script for Diablo Cody. But, just like Little Miss Sunshine last year, it's not quite deserving of the best. If everyone is so excited to vote for an indie, hip, female writer who has a hilarious script with serious undertones, why don't they just pick Tamara Jenkins? I did. Tony Gilroy is a close second to me. And yes, if I was in the guild, I would probably vote for Hot Fuzz just so it would get nominated. Of all the great comedies this year, that was the best writing. I round it out with Hal Hartley, who deserves to at least get a writing nom some time, and the intense script of Eastern Promises, which I only realized recently was NOT an adaptation. I wanted to include The Darjeeling Limited, but it was just a late cut.

Almost making my list here, for Waitress, and for supporting actress, is the late Adrienne Shelly, who really ought to get something special posthumously.

BEST ADAPTED SCREENPLAY

Actual: No Country, There Will Be Blood, The Diving Bell & The Butterfly, Atonement, Away From Her

My top five: No Country, There Will Be Blood, Zodiac, American Gangster, The Diving Bell

Like the big awards, it's a tough choice between the Coens and PTA. I'm guessing No Country because they stayed faithful to the book and still made it their own. Zodiac deserves better. Atonement's script was the one thing that held it back from being great, so I don't see its inclusion here. (See what I just wrote about American Gangster). Diving Bell was good - they managed to keep the guy's sense of humor even after he was paralyzed.

I know it doesn't matter much, but I actually think the guy who wrote the script for Harry Potter this year gets deserves some credit for chopping down a huge book into a good movie. It's harder, I think, when you have to choose what to leave out. Same for Persepolis - even though she used her own graphic novels, she had to come up with the best material for 90 minutes, and it worked.

BEST DOC

I should have seen more here. No End in Sight was good, if nothing new. I'll try to see more at some point.

BEST ORIGINAL SCORE / and SONG

The fact that Johnny Greenwood's terrifying arrangements for TWBB aren't in this category makes me not care. That was a weird disqualification. He won all the early awards before they said no.... what gives?

Also, if the signature song from Once doesn't win, I will spend the next few months hunting people down here. No, really. I don't ask for much, but if there was ever an obvious pick, this is it.

BEST CINEMATOGRAPHY

Actual: No Country, There WBB, The Assassination of Jesse James by the Coward Robert Ford, Atonement, The Diving Bell

I have no gripes here. Those are all shot exceptionally well. I can't think of one that I like better, although I was fond of Zodiac and Darjeeling Limited for imagery. Well, this is a good group, and it's hard to just pick one. I'm calling Jesse James mainly because that's what makes this movie worth it. I'd vote for it, I suppose, but I could take any of these.

BEST ANIMATED FEATURE

Actual: Ratatouille, Persepolis, Surf's Up

My top: Persepolis, The Simpsons, Ratatouille

Really? Surf's Up??? My friend who works at the City Paper didn't even have to review that one - I wrote a haiku for it in his place. I know The Simpsons movie was okay, not as special as the best years of the show, but it did well and everyone else seems to like it as an animated choice. Unbelievable. Anyway, I know Ratatouille will win because it's well-made and charming, and I can't dispute that, but Persepolis might be the greatest animated feature ever. Just saying.

BEST SUPPORTING ACTRESS

Actual: Ruby Dee, Sairose Ronan, Cate Blanchett, Amy Ryan, Tilda Swinton

I'd vote for all of them, so I think this is a good group. I guess I like Swinton the best, but I think they will wise up and pick Amy Ryan. There's no good reason not to - Dee doesn't have much screen time, Blanchett is a little over the top, and the others don't have the emotional power.

BEST SUPPORTING ACTOR

Actual: Javier Bardem, Hal Holbrook, Philip Seymour Hoffman, Tom Wilkinson, Casey Affleck

My top: Bardem, Holbrook, Hoffman, Steve Zahn, Paul Dano, Wilkinson, Philip Bosco

Alright..... this is darn near impossible. Some years, there are tough choices, but this year, you could name 10 guys who could all be here. I think everyone they nominated is great; how can I say no to Phil and Tom, let alone Holbrook recapturing magic? I also think seven other people are great. Everyone knows Javier Bardem is going to win, and he should, but my God, this is an unfair year. Zahn nearly killed himself, totally reinvented his persona, and didn't even get nominated. Dano held his own with DDL but was overlooked. Josh Brolin, out of nowhere, has appeared in FOUR good films this year as a ragged/skeevy/tough guy, when we used to just remember him as the older brother in The Goonies. Russell Crowe made me finally like him - twice. Philip Bosco was great as the mean but dementia-ted dad in The Savages, but for some reason, he's not getting the love that Holbrook (and Julie Christie) are for similar great elder roles. I think any of the men in Juno - Michael Cera (getting points also for carrying Superbad), Jason Bateman, or J.K. Simmons - could get nominated. But it's so hard. They should have just made this 7 or 8 nominees.

BEST ACTRESS

Actual: Julie Christie, Ellen Page, Marion Cotillard, Cate Blanchett, Laura Linney

My top: Christie, Cotillard, Linney, Keri Russell, Helena Bonham-Carter

Julie Christie will win, maybe with sentiment, but she'll deserve it. I really like Ellen Page, but I actually think she'll have much better roles.... don't get so caught up in this. Blanchett played that before... meh. I like Keri for breaking through and really holding up Waitress, and HBC was the real key in Sweeney Todd (even more than Johnny, I'd say.) Linney did some of her best work in The Savages - I was happily surprised she made it. Cotillard looks great, and I haven't seen it all, but she was so good in Big Fish and Very Long Engagement. I'll trust them on that.

Also, I give props to Naomi Watts; Parker Posey, owning in the indie world with Fay Grim and Broken English; and Belen Rueda, who carried El Orfanato and gave a lot of depth to a horror film.

BEST ACTOR

Actual: Daniel Day-Lewis, George Clooney, Johnny Depp, Viggo Mortensen, Tommy Lee Jones

My top: DDL, Clooney, Viggo, Christian Bale, Depp

Daniel Day-Lewis is going to run away with this as he should. I like all these picks, but I really think Christian Bale deserves a nom for all his hard work this year. He should get something just for Rescue Dawn, which was amazing in how much he and Zahn did, but then he also had great turns in 3:10 to Yuma and I'm Not There. Jones is good, and I'm sure he's getting support for his role in No Country as well, but that's a tough pick.

BEST DIRECTOR

Actual: The Coen Brothers, Paul Thomas Anderson, Julian Schnabel, Tony Gilroy, Jason Reitman

My top: Coens, PTA, David Fincher, Schnabel, Gilroy

Finally, the academy is recognizing people I really like. It seems like this, best adaptation, and the big prize are a close race between the Coens and PTA. Really, I can't lose there. Schnabel is a dark horse, but his film isn't up for best pic, so it will be hard. I just can't believe that three indie/art/cult guys I love so much are up for the prize.... this never happens. I'm still waiting for them to read off Clint Eastwood's name. I think the Coens get a slight edge for making a comeback and being around longer, but I could see PTA or Schnabel getting it. I would give it to any of those three.... I'll take the Coens but I don't really have much preference. It was a good year for all.

I like 4 out of the 5 but I do have one gripe: their continued dissing of David Fincher. If they are now letting PTA in, why not him? He was one of the best up-and-comers last decade and they ignored him. Now, he tones it down, goes serious, and they give it nothing. I don't get it. They finally recognize some of these guys, and then they ignore one for Jason Reitman, who is a great up-and-comer, but doesn't belong here yet.

I also feel kind of bad for Joe Wright as the only director of a best-pic-nominated film that didn't get his own nom. Atonement was beautifully shot and well-acted; its main problem was in the script and story choices, as I said. So it's not all his fault. I think he deserves it a lot more than Reitman, and he would be my sixth pick.

BEST PICTURE

Actual: No Country, There WBB, Atonement, Michael Clayton, Juno

My top five: Persepolis, No Country, TWBB, Michael Clayton, Zodiac

My next seven (who wouldn't bother me if they were up for it): The Diving Bell, The Savages, Atonement, American Gangster, Eastern Promises, Rescue Dawn, I'm Not There

You know the academy's top five. I gave you twelve that I thought were worthy of inclusion, and then the best five out of those. It's been a pretty good year.

I can't tell for this and director who will win between the Coens and PTA. My gut tells me the Coens will get both, and I think I'm inclined to say that their chances are actually a little better for the big prize than director. Blood wouldn't surprise me, and I also have a feeling they could split votes and Atonement or Clayton could sneak in there. But I'm saying No Country and the Coens have a 55 % chance, TWBB 40 %, and others 5 %. It's tough, and I could see it any way.

As for my pick as the best? I feel the same way they do. I'm torn between No Country and There WBB. They're both great, made by great people, with great people in them. It's hard, and I will be happy if either wins. I don't think I've ever had a night like this, knowing I couldn't lose. But as I was debating them, I starting thinking about Persepolis as an alternate that could separate itself. It's got everything a best picture should - historical importance, romance, war, tragedy, humor, and Eye of The Tiger. It uses its distinctive animation to make real biting satire and sarcastic humor, not just the feel-good kind... but then it also shows a girl's terror and the bleakness of her new country. It's marvelous and one of a kind.

I was ready to give up and declare a three-way tie, but now, I think Persepolis can jussssssst squeak by the two giants. I'm glad they will be winning awards all night, because they haven't got many from them... but they have from me! They can't get any higher in my book.... I would have given them stuff for Fargo, Miller's Crossing, Boogie Nights, Punch Drunk Love, and many others. So I'll spread my praise around and give it to Marjane Satrapi, who needs some recognition.

2007 was a good year for movies. Here's hoping the Oscars reflect that.