2010 Pretentious Film Awards - The Winners

Here is my list of winners for the 3rd Annual Pretentious Film Awards. Here's hoping 2011 is another great year for movies!

*Denotes Winner
**Denotes Runner-Up
***Denotes Second Runner-Up

Best Picture

Black Swan
Blue Valentine**
Dogtooth***
The Social Network*
Winter's Bone

Best Director

Darren Aronofsky - Black Swan
Derek Cianfrance - Blue Valentine**
Yorgos Lanthimos - Dogtooth
David O. Russell - The Fighter***
David Fincher - The Social Network*

Best Actor in a Leading Role

Aaron Eckhart - Rabbit Hole
Jesse Eisenberg - The Social Network**
James Franco - 127 Hours
Ryan Gosling - Blue Valentine*
Tahar Rahim - A Prophet***

Best Actress in a Leading Role

Nicole Kidman - Rabbit Hole***
Jennifer Lawrence - Winter's Bone
Lesley Manville - Another Year*
Tilda Swinton - I Am Love
Michelle Williams - Blue Valentine**

Best Actor in a Supporting Role

Christian Bale - The Fighter*
Andrew Garfield - Never Let Me Go**
John Hawkes - Winter's Bone
Mark Ruffalo - The Kids Are All Right***
Miles Teller - Rabbit Hole

Best Actress in a Supporting Role

Dale Dickey - Winter's Bone
Melissa Leo - The Fighter***
Mia Wasikowska - The Kids Are All Right
Jacki Weaver - Animal Kingdom*
Dianne Wiest - Rabbit Hole**

Best Original Screenplay

Animal Kingdom - David Michôd***
Another Year - Mike Leigh**
The Fighter - Keith Dorrington, Eric Johnson, Scott Silver and Paul Tamasy
Blue Valentine - Derek Cianfrance*
Toy Story 3 - Michael Arndt, John Lasseter, Andrew Stanton and Lee Unkrich

Best Adapted Screenplay

Never Let Me Go - Alex Garland
Rabbit Hole - David Lindsay-Abaire**
Scott Pilgrim vs. The World - Michael Bacall and Edgar Wright
The Social Network - Aaron Sorkin*
Winter's Bone - Debra Granik and Anne Rosellini***

Best Editing

127 Hours - Jon Harris
Black Swan - Andrew Weisbaum**
Blue Valentine - Jim Helton and Ron Patane***
Inception - Lee Smith
The Social Network - Kirk Baxter and Angus Wall*

Best Cinematography

127 Hours - Enrique Chediak and Anthony Dod Mantle**
Black Swan - Matthew Libatique*
Enter the Void - Benoît Debie
The Social Network - Jeff Cronenweth***
True Grit - Roger Deakins

Best Original Score

Inception - Hans Zimmer***
The Illusionist - Sylvain Chomet
The King's Speech - Alexandre Desplat
Never Let Me Go - Rachel Portman**
The Social Network - Trent Reznor and Atticus Ross*

Best Original Song

For Colored Girls - "La Donna in Viola" (Performed by Andrea Jones-Sojola and Karen Slack)
The Illusionist - "Chanson Illusionist" (Performed by Sylvain Chomet)*
Never Let Me Go - "Never Let Me Go" (Performed by Rachel Portman)**
Scott Pilgrim vs. The World - "Threshold" (Performed by Sex Bob-Omb)
Scott Pilgrim vs. The World - "We Are Sex Bob-Omb" (Performed by Sex Bob-Omb)***

Best Costume Design

Black Swan - Amy Westcott**
The Fighter - Mark Bridges
I Am Love - Antonella Cannarozzi*
Inception - Jeffrey Curland
True Grit - Mary Zophres***

Best Achievement in Art Direction

Black Swan - Tora Peterson and David Stein**
Dogtooth - Elli Papageorgakopoulou
I Am Love - Nadine Herrmann*
Inception - Guy Hendrix Diaz, Larry Dias and Doug Mowat
The King's Speech - Judy Farr and Eve Stewart***

Best Visual Effects

Black Swan**
Inception*
Scott Pilgrim vs. The World***

Best Makeup/Hair

Black Swan*
A Prophet**
Scott Pilgrim vs. The World***

Best Sound Mixing

127 Hours**
The Fighter
The Illusionist
Inception***
The Social Network*

Best Sound Editing

Black Swan*
Inception
Toy Story 3**
Scott Pilgrim vs. The World
The Social Network**

Top Ten Films of 2010

1. The Social Network
2. Blue Valentine
3. Dogtooth
4. Winter's Bone
5. Black Swan
6. The Fighter
7. Another Year
8. Animal Kingdom
9. The Illusionist
10. Never Let Me Go

Oscar Predictions - 2010 (pt. 2)

Best Original Screenplay
While I'm on the record for not loving The King's Speech, I can't truly bemoan its inevitable win in this category. At the script level, it is everything it should be and my favorite original screenplay of the year isn't nominated anyway. Even The Kids Are All Right, which has structural problems and huge issues of POV (verboten in screenwriting 101) is rich with so many great moments that slightly overshadow the fact that its admirable in parts, rather than as a whole. Inception least deserves its place on the ballot, I'm afraid. If they were going to snub the movie anywhere, it should have been here rather than in Best Director.

Will Win: David Seidler for The King's Speech
Alternate: Christopher Nolan for Inception
Should Win: Um, duh...Mike Leigh for Another Year
Should Have Been Nominated: Derek Cianfrance, Joey Curtis and Cami Delavigne for Blue Valentine.

Best Adapted Screenplay
This is the where The Social Network is most assured to win its trophy. Some are predicting a potential upset because it's been a season of upset, but there's nothing that could feasibly usurp this spot.

Will Win/Should Win: Aaron Sorkin for The Social Network
Alternate: None, really.
Should Have Been Nominated: David Lindsay Abaire for Rabbit Hole

Best Animated Feature
Hmm...this is a tough one. I wonder. Okay...cease facetiousness now. Obviously it's Toy Story 3. I've got to say, I have a feeling that Pixar's mini-sweep (beginning with Ratatouille's win in this category in 2007) ends here, at least for now. Next on their slate are sequels to Cars and Monsters Inc. I suspect those titles will be to the Pixar golden age what Pocahontas was to the Disney Renaissance--the beginning of the end.

Will Win: Toy Story 3
Alternate: How to Train Your Dragon
Should Win: The Illusionist


Best Foreign Language Film
I've only seen one of the nominated films (Dogtooth), so my perspective is off. Even if one has seen all the films, this category is tough to predict. It seems like it's never the title that everyone has heard of nor is it the one that got all the festival buzz. The White Ribbon losing to The Secret in Their Eyes, Waltz With Bashir losing to Departures, Pan's Labyrinth losing to The Lives of Others and Amelie losing to No Man's Land are all examples to support this. With that in mind, I'm going with what sounds like (based on description), the most Oscar friendly choice with Susanne Bier's submission from Denmark, In a Better World. But, again, who knows? The fact that it's one of the few categories where Academy members have to see every nominee in order to vote, there are always surprises. Incidentally, how glorious would it be if all the categories implemented this rule?

Will Win: In a Better World
Alternate: Incendies
Should Win: Like I said, I've only seen Dogtooth, but it is one of my favorite films of the year, so...

Best Documentary Feature

I've only managed to see two of the films, but from what I gather, it's an impressive slate of nominees. The omission of Waiting For Superman, which I sat through a little more than half of and couldn't abide finishing speaks to the nominating committee's discernment. A win for Exit Through the Gift Shop would be exciting, but I've already expressed my lack of passion for that piece. And ultimately, I suspect that Inside Job will take it in the end.

Will Win: Inside Job
Alternate: Exit Through the Gift Shop
Should Win: Restrepo (pending my viewing of the other nominees)
Should Have Been Nominated: Prodigal Sons

Best Original Score

An impressive slate of nominees, even though people seem to be inexplicably down on Alexandre Desplat's score for The King's Speech. I quite liked it, actually. Yes, Desplat has done much much better work in (deep breath now) Lust, Caution, Birth, The Painted Veil and I'm sure his score for the upcoming Tree of Life will be great. My point is that if Desplat finally wins, it'll be a career prize. The 127 Hours nomination is the one that I'd probably substitute for something else. Here we could see the fruits of a King's Speech sweep, or The Social Network could repeat its Golden Globe win here. I'd be shocked if anything other film besides these two won, but I'm going with The King's Speech. The Golden Globe and Oscar rarely match up for Original Score. Plus, The Social Network dominated those awards, which makes the Globes seem rather irrelevant (even more so, I mean), given the way the tide has turned.

Will Win: Alexandre Desplat for The King's Speech
Alternate: Trent Reznor and Atticus Ross for The Social Network
Should Win: Trent Reznor and Atticus Ross for The Social Network. So unique and beautiful. I also enjoyed Hans Zimmer's Inception score and Desplat is on my personal ballot as well.
Should Have Been Nominated: Sylvain Chomet for The Illusionist


Best Sound Editing
I'm kind of shocked that Black Swan, a film with excellent sound design couldn't get a nomination in either of the sound categories. That being said, it's not a bad lineup. I say this one goes to Inception because the film's bound to win at least one of the categories (more on why I'm predicting it here later).

Will Win/Should Win: Inception
Alternate: Tron: Legacy as a consolation for the snub in visual effects (but they don't really think like that, do they?)
Should Have Been Nominated: Black Swan

Best Sound Mixing
Inception could easily pull off a win in both sound categories, but how does a voter (if they understand sound mixing) watch the night club scene in The Social Network and not give it this award? Right...most people don't know what sound mixing is. Gotcha. My advice is predict Inception for both because it's bound to win one of the sound categories.

Will Win: Inception
Alternate: The Social Network
Should Win: The Social Network
Should Have Been Nominated: 127 Hours

Best Art Direction

Will Win/Should Win: The King's Speech
Alternate: Inception
Should Have Been Nominated: I Am Love

Best Cinematography

Will Win: Roger Deakins for True Grit, but is it a done deal? Hardly. He's been denied so many times before, so why not this time? And really, my gut is telling me it's Wally Pfister.
Alternate: Wally Pfister for Inception.
Should Win: Matthew Libatique for Black Swan
Should Have Been Nominated: Benoit Debie for Enter the Void, though honestly, Libatique actually getting nominated for Black Swan feels like enough of a get for this category.

Best Editing

Will Win/Should Win: The Social Network
Alternate: The King's Speech
Should Have Been Nominated: Inception

Best Visual Effects

Will Win/Should Win: Inception
Alternate: Nothing.
Should Have Been Nominated: Black Swan


Best Original Song

Will Win: "If I Rise" from 127 Hours
Alternate: "We Belong Together" from Toy Story 3
Should Win: Abstain (who even cares?)
Should Have Been Nominated: Anything other than these four songs.

Best Makeup

Will Win: The Wolfman
Alternate: The Way Back
Should Win: Abstain
Should Have Been Nominated: A Prophet

Best Costume

Will Win: Alice in Wonderland
Alternate: The King's Speech
Should Win: I Am Love
Should have Been Nominated: Black Swan

Best Documentary Short

Will Win: Strangers No More is too much in the Oscar wheelhouse not to win.
Alternate: But then again, so is The Warriors of Qiugang

Best Animated Short

Will Win: Day & Night
Alternate: The Gruffalo, simply because it has a (relatively) all-star cast for an animated short.

Best Live Action Short

Will Win: God of Love
Alternate: Na Wewe

Oscar Predictions - 2010

Having now finally weighed in on my opinion of what's the best of the year, I thought I'd volunteer my own predictions on how the Oscars will shake down in a couple of weeks. I have to admit that I'm not as excited about the Academy Awards this year. Mostly because the overall starriness of and focus on (or maybe I'm just paying more attention to it this year) the behind the scenes drama is overshadowing the fact that we, once again, with the exception of a few categories, already know who's going to win. The only thing that's left is to hand out the awards, as far as I'm concerned. I'm also not so much invested in the actual race because this is a rare year in that (with the exception of one or two dings here and there) both the nominees AND the presumptive frontrunners in a record number of categories are actually deserving. The Academy did a miraculous job of not embarrassing themselves this year and I say kudos.

Best Picture
I've already stated my feelings about The King's Speech, deeming it high-minded, but finally unremarkable (but still enjoyable--gah, what a contradiction). However, you may be shocked to hear that upon further inspection, it's True Grit, not The King's Speech which I feel least deserves its spot on the ballot. Neither film is ultimately lacking enough to make me feel passionately against it and that speaks highly of the 2010 Best Picture roster, which boasts no truly putrid submissions (usually, even in a year of five nominees, there's at least one or two stinkers). I prefer The Social Network by about a mile, but I don't subscribe to the argument that it's the more timeless choice that will be looked upon fondly. One can't predict how a movie will age. In ten years time, The Social Network may well read how something like American Beauty reads now--a time capsule snapshot of the American ethos that, while important as a historical marker, feels dated. So, despite loving Fincher's film, I don't begrudge The King's Speech its victory, which after the DGA, PGA and SAG sweep seems likely. I don't think it's over, though.

Will Win: The King's Speech
Alternate: The Social Network
Should Win: The Social Network
Should Have Been Nominated: Their top ten is not necessarily my top ten, but it's respectable. I'm not even going to suggest that the Academy should totally overhaul their membership and/or way of thinking by including some of my favorites such as Dogtooth, Blue Valentine or The Illusionist.

Best Director
A hard race to call. My gut still says Fincher. And now that even the BAFTAs have gone with him, a split between picture and director seems all the more likely, in spite of Tom Hooper's DGA win.

Will Win: David Fincher for The Social Network
Alternate: Tom Hooper for The King's Speech
Should Win: I really respect David Fincher's work and I do think he should win. But a small part of me wants to see David O. Russell rewarded, who does the most heavy lifting of all five nominees to elevate his film.
Should Have Been Nominated: Christopher Nolan for Inception. He's nowhere near my personal ballot, so this seems like a strange citation, but I wish they would just reward the poor guy already and stop the fanboy whining. Especially since he landed yet another screenplay nomination and anyone who tells you that Nolan is a better writer than a director is insane.

Best Actor
Hmm...I suppose it could be...Oh, who am I kidding. There's no discussion at this point. Signed, sealed, delivered, it's h-h-h-his.

Will Win: Colin Firth for The King's Speech
Alternate: Hell freezing over.
Should Win: Given the absence of Ryan Gosling, I'm almost tempted to say "Who cares?" But that's sour grapes. This is actually a fine lineup, even if it's not mine. Of the five nominees, Jesse Eisenberg gets my vote.
Should Have Been Nominated: Have you not been paying attention? Ryan Gosling.

Best Actress
Again, a fine lineup. The fact that the neither of the two conceivable winners from this category are on my ballot, yet both give top form performances speaks to the quality of the work. I'm glad Best Actress is allowed to be good again, after two years in a row where it was kind of spotty. Natalie Portman has this locked up, I think. Not quite as locked as Firth in Best Actor, but anyone who's still trying to sell the narrative that it's a race between her and Bening is frankly grasping at straws.

Will Win: Natalie Portman for Black Swan.
Alternate: Annette Bening for The Kids Are All Right
Should Win: Michelle Williams for Blue Valentine. No question. Though either Jennifer Lawrence or Nicole Kidman would make almost equally fetching alternatives. And as I've stated, it's a lineup where it'd be difficult to be upset, no matter the outcome. These are five actresses working at the top of their form.
Should Have Been Nominated: Lesley Manville for Another Year, though (for the record), I never once believed that she would be.

Best Supporting Actor
What's with the acting categories this year? I can't remember the last time they were all this good. I'm most surprised by Best Supporting Actor, which is usually the worst of the four acting races by a mile. But I'm honestly not mad about any of these nominations. Even Geoffrey Rush, who's acting I usually don't respond to is more enjoyable in The King's Speech than I've ever found him. I don't think he'll be Christian Bale, as some are predicting. Unless they really like The King's Speech...

Will Win/Should Win: Christian Bale for The Fighter.
Alternate: Geoffrey Rush for The King's Speech
Should Have Been Nominated: Not to be down Jeremy Renner, who I think is fantastic in The Town, but I don't think this nomination really does anything for his career that wasn't already going on anyway (he's already taking over the world). So I'd swap him out for one of the lauded Andrew Garfield performances (The Social Network or Never Let Me Go), both of which I preferred to Renner's work. And while I do prefer Renner to Rush, I'm fully acknowledging that in no universe resembling this one was Geoffrey Rush NOT getting nominated.

Best Supporting Actress
Save Hailey Steinfeld, another great lineup. Not to diss Ms. Steinfeld. Her work in True Grit is quite accomplished, but the category fraud and the undeniable schism of quality between her work and the other nominees is insurmountable. Some think she'll win, but I personally don't think so. The Melissa Leo personal FYC ads debacle is (in my humble opinion) being really overstated. What I think this category really comes down to is how many voters watch Animal Kingdom. Because frankly, not to put too fine a point on it, but I don't see how Jacki Weaver doesn't pull of a Marcia Gay Harden-style upset if enough Academy members pop in their screeners.

Will Win: Melissa Leo for The Fighter, but it's by no means a sure thing.
Alternate: Jacki Weaver for Animal Kingdom
Should Win: Jackie Weaver for Animal Kingdom
Should Have Been Nominated: I'm mostly fine with this lineup. I would have liked to see Mia Wasikowska land a nod for her subtle, understated work in The Kids Are All Right. Especially in a year where she also made Alice in Wonderland. A nomination for the former may have been a subtle industry hint about the kind of movies she should continue making and the kind of movies she should steer clear of.

Predictions: Part 2 coming up...

2010 Pretentious Film Awards - Best Motion Picture of the Year

And the 2010 Pretentious Film Award Nominees for Best Motion Picture of the Year are...


(dir. Darren Aronofsky)

From my review: "The film teeters dangerously on the line between art and trash (and dips into the latter more than once). But I stopped to consider something. Were the world of New York ballet in this narrative to be replaced by the world of say...beauty pageants, the film would feel no less captivating, engrossing and thrilling. That is due to Darren Aronofsky...it is definitely his showiest and most sure-handed [work]...I was surprised by how controlled Black Swan was, both in terms of Portman's performance (which is actually more quiet, subdued and internal than one might expect) and the film itself, especially compared to Requiem for a Dream. Matthew Libatique deserves the Oscar for his cinematography, which deliciously captures the movement of the dancers in long, extended takes, rather than quick frenetic ones. I've never seen ballet shot this way in film and it serves the narrative beautifully."





(dir. Derek Cianfrance)

From my review: "Flashback structure is tricky and requires a certain control over storytelling that few filmmakers can boast. In films that value plot and situation over character, it involves making sure the audience finds out things at exactly the right time, so the flashbacks don't become redundant and the present-day narrative doesn't feel like a rehashing. In character studies such as this one, it involves controlling emotional reaction, getting the most potency out of each moment. Hats off to writer-director Derek Cianfrance and editors Jim Helton and Ron Patane (this is one of the best edited films of the year) on all counts. Watching Cianfrance in interviews, it's clear to see why the film manages to be so distinguishable. With his speech pattern, mannerisms, his appearance right down to the receding hairline, one can't help but wonder if Cianfrance is Dean (Gosling). Is there a Cindy (Williams)? Almost certainly. The film is filled with so many moments of specific, honest and unexpected characterization. A scene from the earlier part of Dean and Cindy's courtship, where he offers his unique perspective on couple's having their own song feels cut and paste from real-life, it rings so true."

'




(dir. Yorgos Lanthimos)

From my review: "One of two films I've seen this year that's truly unlike anything I've ever experienced, cinematically (Enter the Void also shares that distinction, though I've yet to wholly decide if it's to that film's credit or detriment). Greek director Lanthimos paints a horrifying, bare bones and often sickly humorous portrayal of a patriarch who keeps his three adult children (two daughters and a son, all non-actors), under strict lock and key. They never leave the large grounds of their house, which includes a pool and a tennis court, but is still confining and stifling. The children are completely arrested. They speak with a very basic intelligence that would, at first glance, betray how truly warped they are. But the first glimpses are startling." A wisely unintellectual portrayal of sadism. Take that, Passolini.




(dir. David Fincher)

From my review: "Any praises I offer up are going to seem redundant at this point. The Social Network is sweeping the year end critics awards and is poised to be one of the most honored films of 2010. Everything seems to be working in perfect synergy in this wildly exaggerated (to its benefit) account of Mark Zuckerberg's (a wonderful Jesse Eisenberg) creation of Facebook at Harvard and the legal and social drama that ensued. Aaron Sorkin's justifiably lauded, razor-sharp script has an amazing rhythm to it, sustaining a subject that could have easily ran out of steam in the wrong hands. And what is there to say at this point about Trent Reznor and Atticus Ross's outstanding and unique score...A truly singular and unified vision, guided by David Fincher's sure hand. He is the true visionary of our generation."





(dir. Debra Granik)

From my review: " I can't really put my finger on all of the elements that I look for in a film I'm going to recommend. It's a personal and often nebulous thing, trying to saliently communicate one's cinematic sensibilities. I can say (don't worry, I'm going somewhere with this) that I have never enjoyed a film that felt dishonest. Winter's Bone is so lived-in and observant in terms of the world it occupies, and I'm not just talking about the Ozark mountain setting, about which I admittedly know little. I'm talking about the lives of these characters, which is established very clearly in the beginning, with every word uttered and every action taken speaking to that in a compelling way...This is an engrossing, arresting movie-going experience that completely blindsided me...and not in that bad "You threaten my son, you threaten me!" kind of way."



Winners in all categories will be announced next week.

Nominees in all categories

Best Picture
Black Swan
Blue Valentine
Dogtooth
The Social Network
Winter's Bone

Best Director
Darren Aronofsky - Black Swan
Derek Cianfrance - Blue Valentine
Yorgos Lanthimos - Dogtooth
David O. Russell - The Fighter
David Fincher - The Social Network

Best Actor in a Leading Role
Aaron Eckhart - Rabbit Hole
Jesse Eisenberg - The Social Network
James Franco - 127 Hours
Ryan Gosling - Blue Valentine
Tahar Rahim - A Prophet

Best Actress in a Leading Role
Nicole Kidman - Rabbit Hole
Jennifer Lawrence - Winter's Bone
Lesley Manville - Another Year
Tilda Swinton - I Am Love
Michelle Williams - Blue Valentine

Best Actor in a Supporting Role
Christian Bale - The Fighter
Andrew Garfield - Never Let Me Go
John Hawkes - Winter's Bone
Mark Ruffalo - The Kids Are All Right
Miles Teller - Rabbit Hole

Best Actress in a Supporting Role
Dale Dickey - Winter's Bone
Melissa Leo - The Fighter
Mia Wasikowska - The Kids Are All Right
Jacki Weaver - Animal Kingdom
Dianne Wiest - Rabbit Hole

Best Original Screenplay
Animal Kingdom - David Michôd
Another Year - Mike Leigh
The Fighter - Keith Dorrington, Eric Johnson, Scott Silver and Paul Tamasy
Blue Valentine - Derek Cianfrance
Toy Story 3 - Michael Arndt, John Lasseter, Andrew Stanton and Lee Unkrich

Best Adapted Screenplay
Never Let Me Go - Alex Garland
Rabbit Hole - David Lindsay-Abaire
Scott Pilgrim vs. The World - Michael Bacall and Edgar Wright
The Social Network - Aaron Sorkin
Winter's Bone - Debra Granik and Anne Rosellini

Best Editing
127 Hours - Jon Harris
Black Swan - Andrew Weisbaum
Blue Valentine - Jim Helton and Ron Patane
Inception - Lee Smith
The Social Network - Kirk Baxter and Angus Wall

Best Cinematography
127 Hours - Enrique Chediak and Anthony Dod Mantle
Black Swan - Matthew Libatique
Enter the Void - Benoît Debie
The Social Network - Jeff Cronenweth
True Grit - Roger Deakins

Best Original Score
Inception - Hans Zimmer
The Illusionist - Sylvain Chomet
The King's Speech - Alexandre Desplat
Never Let Me Go - Rachel Portman
The Social Network - Trent Reznor and Atticus Ross

Best Original Song
For Colored Girls - "La Donna in Viola" (Performed by Andrea Jones-Sojola and Karen Slack)
The Illusionist - "Chanson Illusionist" (Performed by Sylvain Chomet)
Never Let Me Go - "Never Let Me Go" (Performed by Rachel Portman)
Scott Pilgrim vs. The World - "Threshold" (Performed by Sex Bob-Omb)
Scott Pilgrim vs. The World - "We Are Sex Bob-Omb" (Performed by Sex Bob-Omb)

Best Costume Design
Black Swan - Amy Westcott
The Fighter - Mark Bridges
I Am Love - Antonella Cannarozzi
Inception - Jeffrey Curland
True Grit - Mary Zophres

Best Achievement in Art Direction
Black Swan - Tora Peterson and David Stein
Dogtooth - Elli Papageorgakopoulou
I Am Love - Nadine Herrmann
Inception - Guy Hendrix Diaz, Larry Dias and Doug Mowat
The King's Speech - Judy Farr and Eve Stewart

Best Visual Effects
Black Swan
Inception
Scott Pilgrim vs. The World

Best Makeup/Hair
Black Swan
A Prophet
Scott Pilgrim vs. The World

Best Sound Mixing
127 Hours
The Fighter
The Illusionist
Inception
The Social Network

Best Sound Editing
Black Swan
Inception
Toy Story 3
Scott Pilgrim vs. The World
The Social Network

Nominations Tally
Black Swan - 9
The Social Network - 9
Inception - 7
Blue Valentine - 6
The Fighter - 6
Scott Pilgrim vs. The World - 6
Rabbit Hole - 5
Winter's Bone - 5
127 Hours - 4
Never Let Me Go - 4
Dogtooth - 3
I Am Love - 3
The Illusionist - 3
Animal Kingdom - 2
Another Year - 2
The Kids Are All Right - 2
The King's Speech - 2
A Prophet - 2
Toy Story 3 - 2
True Grit - 2
Enter the Void - 1
For Colored Girls - 1

2010 Pretentious Film Awards - Top Ten Films (10-6)

Without further ado, here is the first part of my top ten list for 2010.

10. (dir. Mark Romanek)

From my review: "The adaptation of Kazuo Ishiguro's novel of the same name was, for my money, an incredibly effective and emotionally devastating film (take note of the word "devastating," a much harder and more lingering emotion to evoke than "depressing"). I was impressed up and down with this film... Yes, there is a conceit at the core of this story that hangs over the narrative, but the film is more concerned about matters of the heart than the soft sci-fi element." To expand, I'm aware that this is a controversial citation of a movie that so thoroughly disappointed a great number of people. But I could not ignored a film that swept me up and moved me so beautifully. Whether taken as a piece of soft science fiction, or a as a quiet meditation on life and death, it's ultimately a graceful and challenging piece of cinema.





9. (dir. Sylvain Chomet)

What's this? There's an animated film on my top ten list and it's not Toy Story 3? As I've stated many times, I believe these lists have to be honest. Honestly? I was deeply moved and effected by The Illusionist, which I caught just in time. I ventured out on a thirty-minute drive to a small theater on the outskirts of Los Angeles. How fitting. As I walked into this tiny theater and the movie began to roll, it was as if I was an audience member in magician's sparsely attended show. It's at once a heartbreaking portrayal of the need for human connection and a portrait of a dying profession in an increasingly modernized world. It's classically animated (there doesn't seem to be much place for that these days) and it's sparse, slow and stately, all to its credit. Who would think that the words "Magic isn't real" would bring tears to my eyes?




8. (dir. David Michôd)
From my review: "This tautly structured, well-paced Australian crime drama is more than meets the eye and rewards repeat viewings. Writer-director Michôd has constructed a film that is rife with character specificity that sucks you into this family of clumsy yet conniving and often loving Melbourne criminals...Animal Kingdom's ability to build tension to a fevered pitch, particularly in the much talked about scene that involves a car backing out of a garage, is something to marvel at and I'm amazed this is Michôd's first feature."





7. (dir. Mike Leigh)
From my review: "There's a moment towards the end of Another Year when Mary (Lesley Manville) tearfully tells her friend and co-worker Gerri (Ruth Sheen), "As long as we're friends, I'm all right." It's a sentiment that is at once incredibly sweet and incredibly sad, expressed with aching conviction...[The actors here have an extraordinary ability] off of each other. The don't just act, they react. It may seem like I'm speaking little of plot. Mike Leigh's films are not creatures of plot. This is, in many ways, his most observational film. And yet it never feels boring or stale. It's heartwarming, honest and refined. I literally didn't want it to end."




6. (dir. David O. Russell)

From my review "In spite of the presence of Black Swan and The Social Networks (splendid films in their own right, certainly), one can't help but wonder if The Fighter is the true directorial achievement of the year. David O. Russell takes one of the oldest and most hackneyed cinematic genres ("The Boxing Movie") and imbues it with so much life, specificity and directorial flourish that's true to his style...The actors here all play like their role is fully fleshed out and realized. Every inch of this film, from its performers, its director, its wonderful script ("She's an MTV girl"), Hoyte van Hoytema's unshowy cinematography--they all seem to be working in perfect synergy with one another."



Next:
My Best Picture Nominees for 2010

2010 Pretentious Film Awards - Top Films (Honorable Mentions)

First of all, let me just say that I don't personally subscribe to the belief that 2010 was a bad year for film, which seems to be the widely held view. I happen to believe that 2010 birthed some truly stunning achievements, with several projects exceeding my expectations. For the record, I very much enjoyed The Kids Are All Right, Restrepo, A Prophet and I Am Love. They are just misses, even for my honorable mentions section. In the tier below those films would be 127 Hours, Enter the Void and Inception (for sheer ingenuity, if not necessarily execution). When I look at the aforementioned films that didn't make my list, 2010 looks pretty darn good from where I'm sitting. And I'm just as surprised as you are that the following films didn't make my top ten list.

15. Scott Pilgrim vs. The World (dir. Edgar Wright)
I went into this with incredibly cold expectations and was shocked by how much I enjoyed it. It dips so deliciously into so many childhood videogame memories. I know that some found this aspect to be incredibly twee and gimmicky, but it got me--hook, line and sinker. The visual effects were worked so organically into the plot and had a uniformity and a vision to them that I really responded to. Certainly more than Iron Man 2 (seriously...the Academy nominated THOSE visual effects but ignored Scott Pilgrim?). And as I mentioned in my adapted screenplay citation, the film is so wonderfully quotable. A truly enjoyable experience.

14. Catfish (dirs. Henry Joost and Ariel Schulman)
From my review: "Despite its documentary format, it unfolds very much like a character study in a traditional narrative. When Nev, his brother and their friend (Henry Joost, the other director) go to see this family, the interactions, the situations all feel incredibly heartwrenching and fascinating..." Very resonant indeed. I fought tears several times throughout this film, and as I've stated, it serves as a very interesting companion piece to The Social Network.

13. Rabbit Hole (dir. John Cameron Mitchell)
Even while much more in line with my sensibilities than Scott Pilgrim (at least on paper), this is a film that I expected to respect and like rather than love. It isn't perfect and the subject matter isn't exactly new territory to be mined, but the actors and Mitchell's uncharacteristically restrained direction brought so much to this piece. Nicole Kidman is absolutely radiant and she is supported by a cast of performers who are not just faded into the background for her awards submission. Everyone here feels alive and purposeful. I've found myself advocating for this film a lot, as it has sadly had trouble finding an audience.

12. Toy Story 3 (dir. Lee Unkrich)
As I stated in my review, I'm just as shocked as you are to find that Toy Story 3 didn't end up making my top ten list. It works as both a heartfelt swan song to a beloved franchise (please, don't ruin this film's power by adding sequels, Pixar) and a beautiful narrative that stands on its own without its predecessors. From my review: "For sheer tearjerking and tugging at the emotional heartstrings, few films this year touched Toy Story 3. I enjoyed it immensely and, like many, was reduced to a mess of tears by last frame."

11. Prodigal Sons (dir. Kimberly Reed)
From my review: "). Prodigal Sons, a documentary about director Kimberly Reed's return to Montana for a high school reunion marries the piercing emotionality of Tarnation with the polished, formal elements of Steve James or even Errol Morris. It's a wonderful combination. We watch as she attempts to reconcile her relationship with her very troubled adopted brother Marc." Personal docs immediately put up a red flag for me, but when they're done this well, the work speaks for itself. And while I very much liked Restrepo and appreciated Exit Through the Gift Shop, I would have rather seen more praise heaped upon Reed's piece as an example of a true outsider making a great documentary.

Next Up:
My Top Ten List...finally.

2010 Pretentious Film Awards - Miscellaneous Honors

Breakthrough Performers
There has been much ballyhooing about Jennifer Lawrence and Hailee Steinfeld. I'm long on the record for loving Jennifer Lawrence's performance and I appreciate things about Steinfeld's turn in True Grit. However, I'm going to deviate a bit and give my breakthrough prizes to Andrew Garfield and Emma Stone. I know the former (and arguably the latter) have been working long enough that "breakthrough" is a weird title to attach to them, but they both did excellent jobs this year in justifiably skyrocketing their cultural capital. By the way, this is in no way a plug for Spiderman: The Night Man Cometh (not the "official" title, but let's try things out).

Granted, neither performer made it all the way to the Oscars. Not that Emma Stone was ever really in contention, though I for one wouldn't have scoffed if her turn in Easy A had been cited. But I immensely watching both of them on the big screen. Every time I even think about thinking about (effusive much?) the way Garfield dances and sidles up to Eisenberg at the Caribbean party The Social Network--or the way Emma Stone gleefully croons Natasha Beningfield's "Pocketful of Sunshine," I'm filled with absolute glee. Both are up for "Best Rising Star" at the BAFTAs this year and my vote would happily go to either of them. I suspect they'll continue to work and make smart decisions (the Spiderman reboot notwithstanding, which I'm sorry to report I'm a little worried about). I'll even submit that missing that Oscar citation for your breakthrough is not always a bad thing. Talk to Keisha Castle-Hughes, Haley Joel Osment and Kate Hudson and find out how those lone Oscar nominations are helping their careers...Okay, so I suppose Kate Hudson does have a career post-Almost Famous, for reasons that confound and baffle me to this day.

And finally, I have to cite a Breakthrough Director Award for David Michôd, whose debut feature Animal Kingdom was incredibly potent, stripped down and intelligent. I can't wait to see what he does next. Which is a nice segue into...


Best Ensemble Cast of 2010
I appreciated the ensemble work in several films this year. The Social Network is alive with vibrant actors who (mostly) know how to work their way around Aaron Sorkin's rapid-fire dialogue. And there is incredible interplay going on between the performers. Ditto for The Fighter, where every character feels like a live wire (God, those sisters...). Scott Pilgrim vs. The World and The Kids Are All Right are both blessed with performers who completely inhabit their film's respective universe. In descending order, those would be my runners-up. But the top prize for best ensemble cast goes, unquestionably to...

This cast of Animal Kingdom. The Cody family is played by each actor (even newcomer James Frecheville, whose performance has been slighted by some), with lived-in, believable performances. They play off of each other so vibrantly and there's a wonderful fluidity to the familial dynamic being depicted here. It feels very real, lending to how foreboding and creepy the movie often is. They've all done some terrible things, those Codys...



Coming Up Next:
Best Films of 2010 (Honorable Mentions)

2010 Pretentious Film Awards - Best Director

Darren Aronofsky for Black Swan
An ostentatious and often obvious cinematic exercise, but one executed with Aronofsky's singular and simple vision. It's hard to find fault with all the directorial flourishes and experiments when they're this controlled.



Derek Cianfrance for Blue Valentine
Every scene feels infused with humanity and authenticity. The actors are being guided by a sure and steady hand that gives them room to breathe, while knowing all the right emotional beats to hit. I can't wait to see what he does next.






Yorgos Lanthimos for Dogtooth
His sick little vacuum of a universe is expertly constructed and he seems to know exactly what he's doing. Every actor is on the same page and there is a magnificent control at work behind the scenes of this absurdist and arresting portrait of a disturbed family.




David O. Russell for The Fighter
If you walked into The Fighter expecting just another tired retread into the world of cinematic boxing, Russell assuages your fears from the first frame. It's clear that Russell isn't sanding his edges and his directorial stamp runs through this live wire of a film.




David Fincher for The Social Network
I truly believe that a lesser director (or certainly one not as inventive as Fincher) would have receded into the background and let the exercise become Sorkin's film. He does allow the script to do some heavy lifting at appropriate moments, but it is Fincher's direction that elevates The Social Network into a thing of visual splendor.

Finalists:
Debra Granik for Winter's Bone. The process of improvisation and long rehearsal has paid off once again for Mike Leigh in Another Year. David Michôd crafted a haunting debut with Animal Kingdom.

Semi-Finalists:
Danny Boyle for 127 Hours.
Lisa Cholodenko for The Kids Are All Right.

2010 Pretentious Film Awards - Best Adapted Screenplay

Alex Garland for Never Let Me Go
Flawed, certainly, but beautiful and dripping with so many great moments. It's a tricky source material to adapt and in a lot of ways, Garland accomplished much by what he chooses not to say.

David Lindsay-Abaire for Rabbit Hole
Gets its spot here for two reasons. Firstly, it's a great screenplay filled with wonderful moments that get to the core of its characters. Secondly, it's a great adaptation that never once feels like it was birthed from a stage play. The material feels tailored for the cinema in a way that few stage to film adaptations can boast.

Michael Bacall and Edgar Wright for Scott Pilgrim vs. The World
Everything a great comedic script should be. Fun, well-paced, and ridiculously quotable. "I want to have his adopted babies." For sheer, unabashed comic enjoyment, I don't think think there was another film that matched Scott Pilgrim vs. The World and it starts with the script.

Aaron Sorkin for The Social Network
Endlessly quotable, so deep and rich, and with a rhythm and pace that manages to feel lightning fast but never gimmicky. One of those rare scripts that's just so damn good you almost hate that you didn't write it yourself (for the writers out there). From its first scene, it hooks you and never lets go.

Debra Granik and Anne Rosellini for Winter's Bone
As I said in my write-up of the film, I went in expecting a fast and loose festival breakout whose sole purpose is to house a great performance. I was pleasantly surprised by its taut structure and engrossing mystery. And the words are just so good, "I already told you once with my mouth." Brilliant.

Finalist:
Even though the best screenplay of the year is an adaptation, it actually wasn't a huge bellweather year for adapted screenplays, at least in terms of the films I actually saw. 127 Hours is enjoyable, certainly and warrants consideration.

Semi-Finalists:
The Town, while a film I enjoyed, never really had a shot here because of how it stumbles in its last act. The ending, particularly. Ditto for For Colored Girls, but I'm citing it because it's Perry's most interesting work to date and quite possibly one of the most misunderstood films of the year.