What Happened to "Rachel Getting Married?"

I know the 2008 Oscar season is long behind us. But the lack of awards attention for Rachel Getting Married outside of the Indie Spirits still baffles me. I have the DVD, which I've watched several times. The movie rewards repeat viewings and I'm now convinced more than ever that it will become one of my favorite films of this decade. But I have tried to analyze in my head exactly what went wrong here. It had an Academy-Award winning director at the helm (Jonathan Demme), a bonafide star headlining the cast (Anne Hathaway) and it was written by the daughter of a Hollywood legend (Jenny Lumet, daughter of Sidney Lumet). But the more one watches the film, and observes trends, it becomes slightly less confusing, if still baffling in the end.

1. Release date.
Rachel Getting Married got an October release date. Most of the time, films are released too late (Che, Revolutionary Road, and Children of Men being a few recent examples), but the October release date probably led to it being lost in the shuffle.

2. Law of averages.
2007 boasted one of the best (if not the best) Oscar best picture shortlists of the decade. It's a little unrealistic to expect two great years in a row. Once I saw how good 2007's shortlist was, I actually said to myself "Ooh...but this means 2008's shortlist is going to suck," which it more or less did, with a few exceptions. The best film of the year was left off the list. It happens sometimes.

3. Debra Winger.
Maybe people do still hate her...

4. It's not a tidy film.
There's no caption at the end that reads "Kim goes back to rehab because...it was written." The movie is wrenching, it's uncomfortable and often times, it's downright grating. Oscar is usually less forgiving of films such as these when they are...

5. Female-centered.
Oscar likes its complex men, but it doesn't like its complex women for the most part. So many layered and complicated women. And written by a woman. Juno was a bit easier to digest.

6. The dishwashing scene.
While I didn't hate it, I could definitely see how it would lose some people, and turn them against the movie if they were riding the fence. One of the people I saw it with said "All of that just so the father could find the plate? It seems a little bit roundabout." And maybe they were right.

7. I've Loved You So Long
Sony Pictures Classics put all of their steam behind this train early on in the year, especially when there was talk of Kristin Scott Thomas possibly WINNING best actress (she wasn't even nominated.) It was clear that this was the pony they were betting on. By the time Anne Hathaway emerged as the one more probable to get a best actress nomination, it was kind of too late to mount a serious, tasteful campaign for the entire film. Speaking of which...

8. The National Board of Review
Although they did name Anne Hathaway as their best actress, the absence of the film from their top ten list (especially since non-starters like Changeling, Gran Torino and Defiance made the list) suggested that the film was an awards vehicle for Hathaway and nothing more. Since NBR is first out of the gate and rarely makes inspired choices, they're fun to blame.

9. Lack of starpower.
Anne Hathaway and Debra Winger are the two biggest names in the film. Winger, while an accomplished actress took long absences from the screen and is not exactly what you'd call a "movie star." Hathaway, while definitely famous, is not an actress who has typically been associated with good acting in serious drama. For those who were paying attention, the greatness she accomplished here was hinted at in the past. For others, it wasn't so obvious and her name alone may have steered a few moviegoers and Academy voters alike. You wouldn't believe the number of people I've spoken to who won't see the movie because they "don't like Anne Hathaway."

10. The multiculturalism.
A friend of mine said she was put off by the "kumbaya" aspect of the film, which she (as a black woman) read as inauthentic. This has been discussed ad nauseum, but some people feel it's a valid concern. I disagree.

TV Season Retrospective

Big Love
Man. What a great season. It dared to go places that previous seasons wouldn't, but not in gimmicky or attention-grabbing ways. It's kind of sad that it seems like they're running out of things to do with Sarah, as witnessed by her engagement to Scott, but I love the way Sarah's pregnancy/miscarriage was handled. Usually miscarriages for television characters who shouldn't be having children feel like copouts, but there were some hardfelt consequences and issues that arose as a result. Also, Nicki continues to both reveal and conceal more of her hand as Bill struggles between trying to hold on to her with all of her faults, or letting her go with dignity. Chloe Sevigny deserves an Emmy nod for how she handled such a complex character. She kept track of so many different things--Nicki's devotion to her family, which is genuine I believe. The lies, the selfishness and the lies to cover up more lies. Also, the revelation of her daughter. Is she earnestly trying to atone? Or is it a clever ploy to worm her way back into the sympathies of her husband and sister wives? Isn't it funny that season 2 dealt with how Barb was slipping away from him. Season 3 dealt with Nicki finally putting her resentments toward Bill on the table. And with Margene's new business ventures rearing their head, I think we'll see her slipping further away as well. I can't wait and I'll be back for Season 4. I just hope that Roman is dead for good this time.
Season Grade: A

Brothers and Sisters
I'm mostly pleased with season three of this show, which continues to be watchable, even in its more ridiculous moments (most of which involve Sally Field in some way). I was interested to see how they would handle the possible shark-jumper that was Rebecca not being a Walker and her romance with Justin, but they did about as well as expected. For the most part, the lack of chemistry between Dave Annable and Emily Van Camp isn't too distracting. My major criticism of season 3 was the ponderous way in which they handled Tommy's exit. I get that Balthazar Getty was causing shit on the set, and with his recent affair, they wanted him gone (which is fucked up, I think. I don't condone cheating on your wife, but it shouldn't get you fired). But both the setup (his embezzlement) and the result (Tommy working on some compound in Mexico to "find himself") feel contextually ridiculous and unsupportable. But I'll be back for season 4. Tommy's exit not only got rid of the least interesting character, it got rid of the second least interesting character (his wife. What's her tits? It doesn't matter).
Season Grade: B

Grey's Anatomy
Yes, I still watch this show. Shut up. This season was a mixed bag that had trouble finding its footing from the get go. Everything felt ponderous. Callie's lesbianism, Cristina's sexual frustration, Meredith and Derek dancing around the commitment issue. And of course, there was the whole "Izzie fornicates with a ghost" storyline that was...pardon my french, fucking ridiculous. But there was some good here too. Meredith has really come into her own as a doctor and a person, and is really a more likable character because of it. I loved the way she stood up to the chief this season on several occasions. Dr. Weber is my least favorite character on the show and his self-righteousness and pushiness (particularly where issues with Meredith and her mother are concerned) make him impossible to root for. I'm glad Lexie and George didn't hook up. I'll say that even though the writers would have us think differently, George is one of the bigger assholes on this show and I wouldn't be terribly upset if he's as dead as the last episode suggested. The Izzie/cancer storyline was also compelling, though I hate that people call Katherine Heigl a bitch for wanting to abandon "Grey's Anatomy." Yes, she's a bitch. Obviously (have you read any interviews with the woman?) But wanting to abandon a show that's probably on its downslope doesn't make her a bitch. Why should anyone participate in anything that they don't want to? It's like the people who want to drag Michael Cera kicking and screaming back to "Arrested Development" for a movie that may not even be necessary. I love that show, but a movie? Do we really need it? The show ended on such a perfect note. I rarely defend actors, but this ownership that fanboys/girls declare over stars is a little strange. Like any other profession, hell like anything in life, you shouldn't pursue endeavors that you aren't fully invested in. I don't know that I'll be back for all of season 6.
Season Grade: C+

Parks and Recreation
I initially had a lot of misgivings about this show, but like "30 Rock" it improved exponentially from its first episode. Amy Poehler is very funny here. I think some of the very early problems in the show's timing, etc. stemmed from the writers not sure what to do with Leslie Knope as a character. The comparisons to "The Office's" Michael Scott are obvious, but they managed to make her inept in a way that's totally unique and not just a Michael Scott retread. The supporting cast here is pitch-perfect, although maybe I'm just giddy because I get to see Aziz Ansari, Rashida Jones AND Paul Schneider in the same place at the same time. Chris Pratt is also hilarious. Of the supporting players, Aubrey Plaza is a standout as bored college-aged intern
April. The restaurant where I work is right near the Emory University campus and I'm telling you that Plaza has purposely captured the unique mix of stupidity, apathy and entitlement that many college-aged girls exhibit. I'm very glad this show has been renewed for a second season and I will be watching.
Season Grade: B+

30 Rock
The most consistently funny and watchable show on television, even if I don't consistently watch it. I have no excuses, other than I work most Thursday nights. Plus, I love letting them build up, then watching them in a big hilarious laugh-my-ass-off block on my days off. Jane Krakowski is a comedic genius, not to undermine Tina Fey of course. But it needs to be said. Very loudly, and preferably in front of Emmy voters. Even Salma Hayek, who isn't funny or even a particuarly good actress IMO (yes, I saw Frida. It was a hot mess) didn't bog down the show's whip smart writing and great pacing. Of course I will be back for season 4.
Season Grade: A-

The Office
Man, this season was kind of uneven. There were high points and low points. A lot of interesting stuff, sure, but man it all made for a serious lack of connectivity overall. The show is still funny, of course (that's never been the problem). But it feels like it's on its downslope. I think the problem is that ever since Jim and Pam got together, the writers are struggling with what to do with these characters, since so much of the drama involved them not being together and the awkwardness therein. I was really annoyed that after Pam failed out of art school, that was the last we heard of it. One would think that her having to return to Dunder Mifflin after getting a taste of art school would stir up restlessness and more resentment of the paper business, Scranton and Jim (by extension). It may seem like a predictable direction to go, but based on everything we've seen thus far, I don't buy Pam NOT being restless. And now with the implied pregnancy at the end of the season...oy. I'll be back for season 6, of course. But I'm a little curious/pessimistic to see how long they can keep the show interesting.
Grade: B-

Comprehensive Movie Reviews

Adventureland
Man...one of the most advantageous things a filmmaker can do for his/her film is decide what kind of film it should be. Had writer-director Greg Mottola gone with just one of the dozen movies puttering around in this hackneyed retread, it'd correct a serious lack of connective tissue. We can't be all things to all people. It wants to be a filthy sex romp a la Superbad. It wants to be a sappy/angsty romance a la Garden State. It wants to be make a profane yet profound(?) statement about the world of amusement park employment, the same way some people think Waiting... unmasked the seedy server culture. And there's a bit of The Graduate thrown in there too, because when you're being a total hack, why not reach for the stars? I may have listed some interesting titles, but don't be mistaken. Adventureland certainly doesn't combine the best elements of these films, and what it does combine doesn't really come together. I think the publicity team behind Kristen Stewart wants us to think she's this angsty, alternative queen of the weird. But in films and interviews, she just comes off as entitled and an asshole. And she seems stupid, which means she probably really have the right to be either. Jesse Eisenberg isn't nearly as cute as Michael Cera, and I don't think Michael Cera is that cute. Ryan Reynolds, on the other hand, is every bit as cute and charming as he thinks he is and can kind of do no wrong. Seriously, does Hollywood not see that Reynolds is capable of much more than the projects he typically participates in? Oh, and Bill Hader is awesome (though it's not as if he needed to participate in this film to make that known).
Grade: C


X-Men Origins: Wolverine
What an absolute waste of time. More obnoxious were the fanboys and their exasperation with this movie. The same people who complained about how much the first three X-Men movies sucked were shocked and offended when this one (wait for it...) sucked. It's amazing how people get selective amnesia about these things, and all it takes is a flashy trailer with a helicopter. It bears repeating: What an absolute waste of time. Except Ryan Reynolds. It bears repeating: He can do no wrong.
Grade: D

Star Trek
Surprisingly enjoyable, which is saying a lot for me as I have little or no connection to the franchise. The cast are all positively inspired choices and it's not overlong (which is usually the case for films of this genre). The movie is smart because (unlike the Wolverine movie) it seems to start from the premise of "Okay...everyone knows we don't need another Star Trek movie. What can we do to get around that?" Very smart. It's tongue-in-cheek when it needs to be, with well choreographed action-scenes and a tight script. As far as loud, summer fare goes, one could do a lot worse.
Grade: B

Wow...It's been a while...

I have not blogged in over TWO MONTHS. This is inexcusable (though I do have a few excuses). I'm currently working on editing the feature film I'm shooting...by which, I mean I'm supervising the very awesome, very cool and very skilled person who I'm paying to edit my movie (I wouldn't want me editing any projects.) I'm preparing to go to grad school at AFI in the fall (yikes...I've got to get ready) and I've been working a lot and saving money.

Waiting tables is kind of addictive If you work in a steady, busy restaurant like the one where I work, you get addicted to the cash in hand and the temptation to work double shifts is very looming. I can easily break $250 ($300 on a really good day) working a weekend double shift. You also get addicted to the cash-in-hand every day. The downside: I think that I've lost all faith in humanity. I don't know if it's really that most people are stupid assholes, or if going out to eat turns people into stupid assholes. I wager it's some combination of the two. A man at one of my tables today literally smacked my arm to get my attention today. This is after his mother ate her entire entree, and wanted a refund because she "didn't like it" (she was licking her fork as she told me this). Or I had another table move because a party of five black women sat next to them. It's shit like this that makes me think there's no hope for us. So much so that when customers are actually pleasant/cool, it throws me off my axis. Said party of five black women were there for a birthday party and their glee/joy was infectious. The woman whose birthday it was hugged me and told me I'm a great server. They were the last table of my shift and a great way to end the day. That kind of courtesy takes NO EFFORT at all, yet really makes a different. Showing that you think about the thoughts and feelings of someone other than yourself is one of the best first impressions you can make. I've learned that. Also, as Ryan Reynolds said in Waiting..."don't fuck with the people who handle your food."

On a more personal note, I've recently finished another screenplay which is probably the most personal thing I've ever written. It was at once incredibly difficult and incredibly therapeutic.

Peace Love and Pretension

What to Expect...

I'm going to try to blog more often than I have been. There's always a bit of fatigue that comes after the Oscar race, at least for me. Plus, a lot has happened in the last couple of weeks.

1. I found out I was accepted as a screenwriting fellow into the American Film Institute Conservatory. I'm incredibly exciting and it still has not sunk in yet.

2. I've pretty much wrapped principle photography on my film and am now moving into the editing phase, which means that one way or another, this is about to get finished. It kind of snuck up on me.

3. I've finished a new screenplay, which was probably the most difficult thing I've ever had to write.

That's all I'm going to share. I don't want to get too personal. It's not my style. What you can look forward to in the next coming weeks (I'm talking of course to the few people who actually read this blog) is a lot of retrospective reviews and film talk. Some new recurring series. I'll also be publishing a running list of my 100 favorite movies. Thank God for Netflix. I have so much stuff to watch and re-watch for the first time. I'm rediscovering old loves. Like Ang Lee's The Ice Storm, which I re-watched today...such an amazing film. Where was Sigourney Weaver's Oscar nomination for that one? Agh...

To anyone actually reading this blog, I'm totally open to suggestions/comments about how to improve. I'm going to start up the "Can We Talk About" series again, which I really enjoyed doing. However, I did one on Kristen Stewart last year and in the wake of the Twilight fatigue, which subsequently revealed what an entitled dumbass she is, I kind of want to take back every nice thing I've said about her...

Peace, Love and Pretension.

Who's Watching the Watchmen?

According to second-week box office sales, not many people apparently. What a dip...I'm about to make myself sound like an enormous nerd by admitting that I saw Watchmen twice. Once in IMAX and once in regular-max (I'm here all night people). I must say that part of the experience, at least the first time, was convincing myself that I liked it a lot better than I did. It has receded very much in my memory as a totally forgettable film. Maybe I was initially just pleasantly surprised that it wasn't the total embarrassment that 300 was. Whatever the case, one thing is clear. In the wake of The Dark Knight, every comic book movie released from here on out is going to try to reinvent the wheel and few will succeed. It's debatable whether The Dark Knight itself succeeded. Watchmen does not on most levels. My initial review as a B. Now it's lingering in C/C+ territory after a second viewing.

I have never read the graphic novel and I saw it with three other people who had never read the graphic novel. But from what I gather from my brother (who read the comic and disliked the film), the Republican undertones of the graphic novel were much more tongue-in-cheek and subtle than in the film. I obviously can't judge that aspect, but I have a hard time imagining it NOT to be true. The whole "clever" playing with history thing seemed almost childishly obtuse on one end and frighteningly earnest on the other (if that makes sense).

To call Zak Snyder a visionary (which many people are) is kind of ridiculous. He's VISUAL, certainly. But a VISIONARY? I totally understand why he's the go-to director for stuff like this, but I would have liked to see how someone like say Ang Lee, who has actually proven himself a visionary AND an actor-driven director, would have handled the same material. Of course, that would never happen because the reaction to the first Hulk movie was so ridiculous and unmeasured, so much so that we're forced to pretend it doesn't exist at the behest of the new one, which wasn't even as financially successful.

Expect to see more comic book films attempting similar feats. Trying to appear daring and edgy, all the while saying "See! We can be dark like that Batman movie was!" It's already happening. The Superman movies are going to have a re-imagining in that vain, which I don't get. Superman was never a dark comic book in the way that Batman was, so that doesn't even make sense. I'm not entirely sure what they'd even do there. Even Fantastic Four is going to have a tear down, starting with the firing of Jessica Alba. I think this is funny for several reasons. It assumes that Jessica Alba was the biggest problem with those films. I personally don't want to give her that much power. And in the blandness department (we're talking about talent here) Alba's got it in spades...but she's got nothing on Malin Ackerman who is pretty much the first candidate out the gate for a Worst Actress Razzie. Not that it's entirely her fault (like I said before, Snyder is NOT a director of actors). That fact considered, Jackie Earle Haley as Rorschach and Patrick Wilson as Nite Owl do the best considering the bad material they're railing against. It's nowhere in the same ballpark of greatness as the last project that Wilson and Haley did together, but Patrick Wilson is always watchable...always. After the great year he had in 2006, it'd be nice to see him in a project that's worthy of him.There's nothing else really to say about Watchmen except to point out a nice bit of irony. Billy Crudup plays a man who leaves his more mature companion for a younger, but less interesting and blander woman. Anyone who knows about his personal life will find this little bit of life imitating art very amusing.

Grade: C+

From the Horse's Mouth...

"It's funny because I love this fucking dude dearly. I would die for this fucking dude. He's my brother. But, by God, we are so into our fucking women it's ridiculous."
-Ed Westwick of "Gossip Girl" regarding rumors that he and co-star Chace Crawford are lovers.

"I can't help it. I'm a womanizer sometimes I know, but I just think that bringing a woman home and getting some hot poon is about the greatest thing in the world."
-Mr. Garrison of "South Park" who has since come out of the closet, gotten sexual reassignment surgery to become a women, and then gotten sexual reassignment surgery to become a man again.

What a coincidence. When I'm panicking/scrambling/lying, it brings out the profanity in me as well. Laughing off gay rumors TOO hard and getting all bent out of shape about them to the point of legal action are just two sides of the same coin, in my opinion. Insomuch as it usually means you're gay. Isn't it funny that in denying rumors about his alleged homosexuality, Westwick used the expression "fucking dude" twice? Plus "we are so into our fucking women it's ridiculous"? I'll agree about the ridiculous part. I dunno...me thinks the lady doth protest too much. What do you think?



Here's what I think: To paraphrase Dwight Schrute, I think they could both do better.

An Unexpected Bit of Sympathy for the Palin Family

About a week or so ago, reports were beginning to surface that Bristol Palin, 17-year-old daughter of former US Vice Presidential hopeful Sarah Palin, has broken up with Levi Johnston, the father of her three-month old son. And apparently now it's time to laugh?

I am by no means a fan of Sarah Palin. As underwhelmed as many seem to be with Obama's presidency thus far, I think this country is better off than it would be had McCain/Palin won the election. I actively disagree with pretty much everything she stands for, but I find the glee with which some media outlets are reporting Bristol's split with her fiancee to be a bit much. Schadenfraude is not becoming, people. Am I the only one who finds this situation to be utterly sad for any number of reasons? Bristol grew up in a family, a home and a culture that teaches young people (especially women) that their sexuality is taboo, to be glossed over and not discussed. Because of politics and ideologies championed by people like her mother, her pregnancy was very likely (at least indirectly) caused by lack of information. She picked a guy who's obviously not going to be getting a McArthur Genius Grant anytime soon and she had unprotected sex (I'm assuming) with him. Her opportunistic snake of a mother accepted the VP nomination knowing this, thereby putting her in a position where she was forced to keep the baby. And now, after her mother's party loses the election, she's left with a baby at seventeen, who she will likely have to raise alone. When it's all laid out there like that in plain language, it's pretty hard to see the funny, right? I mean, isn't Bristol Palin a cross-section of what's wrong with the social politics of the religious right? Doesn't she represent the absolute failure of the Republican Party's stance on sex, sexuality and how it should be taught (or not taught) to our nation's youth? Isn't it incredibly sad that if it were up to Sarah Palin to make our policies, her grandson would very likely do the same thing to some poor girl seventeen years from now? It's sad and I feel sad for her. Still stupid, yes. But I do pity her. I know it may sound insensitive, but I look at Bristol Palin and I see the ultimate failure of the past eight years's policies and practices summed up in one perfectly broken little hockey family.

Rest in Peace Natasha Richardson (1963-2009)

I don't really have much to say. I'm surprised by how saddened I am by this. I guess it's rare that a famous person passes away whose work I genuinely admired and respected as much as hers. Make no mistake. This is a tremendous loss to the world of film, theatre and television. My sincerest condolences to the Redgraves, Neesons and the Richardson family. This is unbelievably shocking and upsetting news.

I Heart "American Dad" (Shut Up)

I'm ready to finally have it documented that I watch "American Dad!" Yes, it's created by Seth MacFarlane, the man responsible for "Family Guy." I actually like "Family Guy" (yes, I know) but I won't defend it, if that makes sense. It's an incredibly guilty pleasure for me. And what's interesting is that a lot of what people despise about "Family Guy"--the random cutaways, the way it rips off "The Simpsons" (a show that's long past it's shelf-life. Let's be real) and the way you can almost taste Seth MacFarlane's smugness and sense of self-satisfaction in the writing--most, if not all of those things are pretty absent from "American Dad!" It's pretty tightly written, it doesn't feel like a redux of any show out there, and its overall premise feels very pertinent in a post-9/11 and now post-Bush administration America. It's far and away a better show than "Family Guy," which will obviously be what Seth MacFarlane is remembered for, if he is remembered at all. "American Dad!" "30 Rock" and "Flight of the Conchords" are the only shows on television that make me laugh loudly and obnoxiously when I watch them. I remember the days when "The Office" would do that for me, and now they're lucky to get a chuckle out of me.

And Roger the Alien is one of the funniest characters ever. If only because of this line:

"You wouldn't let me get that Gael Garcia Bernal poster! His eyes are green and he's Latin! I need it!"

A Few Thoughts...I'm Re-Vamping

Now that Oscar season is officially over, I've noticed how many of my posts have been dedicated exclusively to the topic. Not that I'm making apologies. I've long admitted that I'm a fanatic. Now 'tis time to talk of other things. I saw Watchmen last night and will post some sort of review within the next couple of days.

I will say a few things about certain topics which I don't feel need to be discussed. So in a way, I'm going to be part of the problem. But it's my blog, so suck it.

I've long avoided making any comment about the Chris Brown/Rihanna situation for any number of reasons, but here are my thoughts on this matter, which is being shoved down my throat as our generation's Watergate at every turn. This is going to sound incredibly insensitive, but hear me out. I don't care that Chris Brown allegedly beat the crap out of Rihanna. I'm sorry, but I don't. Let me clarify. I don't care about Chris Brown beating up Rihanna any more than I do about the legions of people who are physically abused by their spouse or partner every day. I know they're famous, but I don't subscribe to the school of thought that one's fame makes their uniquely painful or upsetting because of said fame, if that makes sense. I guess that's why I'm me and not Nancy O'Dell. And the uproar that people are feeling now that she has supposedly taken him back...I will just say this: Even if I was someone who cared deeply about this celeb-saga, that bit of news would make me stop caring. As someone who has lost family members to domestic violence, I feel that for someone like Rihanna, with all of her money, fame and resources, to re-enter an abusive relationship is kind of fucking ridiculous. Seriously. People who are deeply obsessed with Rihanna's well-being should commence hand-washing right about now, dontcha think? I'm not blaming the victim. I'm simply pointing out a situation in which only the victim can save him or herself. That's all. (An aside: doesn't she kind of look like she could take him anyway? Just saying...)

Secondly....
Regarding this whole "Octo-mom" thing. I luckily have NOT been following this story (I'm so proud.) The words "Octo-mom" are about all I know of what's going on. But by granting her this kind of pulpit (she's fucking everywhere, right?) isn't the media sort of fueling the same thing they're condemning her for? They say that she only had this many babies for the attention. Okay, fine. So don't give it to her. But that would be too difficult, wouldn't it? Such is the power of schadenfreude that people would sooner see her face plastered all over the place, rather than leaving her alone to contemplate the incredibly selfish, short-sighted mess she's created for herself.

Peace, Love and Pretension.

Brief Thoughts on the Oscar Ceremony

Okay. I know I'm a little late. I've been busy and my computer's been crashing...a lot. I'm also headed to NYC tomorrow for a grad school interview (wish me luck!) so I wanted to post some thoughts on the ceremony, etc before I head off.

The Good

• I thought Hugh Jackman was an excellent host. He made the show everything it should be. I still don't quite get why the job of Oscar host automatically conjures up images of stand-up comedy. Go big. Go flashy. The ceremony is nearly four hours long, for God's sake.
• Kate Winslet finally wins her much deserved Academy Award. Many people are griping about the film that finally got her there, but I'm not one of them. First of all, I'm one of the few people who actually liked The Reader. It may not be her best performance (there's not really any trumping Eternal Sunshine of the Spotless Mind or Heavenly Creatures--her two best performances). It wasn't even the best of the five nominated performances. But it was still a great one (on my shortlist) and since the Oscars are never going to be a truly measured celebration of talent and achievement, I'm happy to see her win, just as I was happy to see Martin Scorsese win for The Departed. One of our greatest living actresses finally has an Oscar and that's good.
• Sean Penn and Dustin Lance Black winning for Milk and giving some great, reserved speeches that represent dissatisfaction with the current state of affairs for the GLBQT community in this country. I loved Sean Penn calling out the people holding signs in support of Prop 8 and hitting them where it hurts--telling them that their grandchildren will be ashamed of them. Feliciations, Sean and Dustin, from one commie, homo-loving son of a gun to another.
• The acting presentations. Many people are very "accept no substitutes" when it comes to doing something in lieu of acting clips. But I really enjoyed the "welcome to the club" approach of having five previous winners present the trophy to the incumbent. I know a lot of people found it tacky and self-congratulatory. I thought it was great.
• The show didn't feel overlong. Though truth-be-told, the length of the show has never been a problem for me. It's how they choose to fill their time. I could have done without the animation montage, but overall, very well-paced and fun. Kudos.
• Hathaway singing and ascending into stardom. She was my favorite of the best actress nominees, but I'm so glad she didn't win. The backlash would have been immense. And she was so beautiful and in her element at the Oscars. A true star in our midst. I love Hathaway because her talent is so large (I was saying this before Rachel Getting Married), and yet she still seems very grateful and gracious when it comes to contemplating her success thus far. Shirley Maclaine was right. Hathaway will be back here again and I love it.
  

The Bad

• The Slumdog steamroll. It was boring, and I guess I'm glad it's over. And of course, I'm glad that it kept Benjamin Button from winning best picture. But honestly, is anyone going to look back in a few years and call Slumdog one of the best pictures of the year? Milk was the best of the nominees, and in my top 5, but it's insane that THAT movie should be the best of the nominated 5. What a middling year, especially in the best picture category.
• Jennifer Aniston. God, why was she there. And of course, her being there brought up the inevitable "Aniston/Jolie" showdown conjured up by the Nancy O'Dells and Billy Bushes of this world. So many things to address here. First of all, what the hell is Jennifer Aniston doing at the Oscars? Seriously? Is it suddenly the place to be for mediocre former television stars with floundering film careers (hello, Jessica Biel). There, I said it. And secondly, there is no showdown. Because I'd be very surprised if Jolie cares about Aniston, or even thinks about her at all. And really, let's not go there. To paraphrase Arrested Development, comparing Angelina Jolie to Jennifer Aniston is like comparing apples to...some fruit that no one cares about. She makes me sad and I'd kind of like it if she went away and took John Mayer with her. And while we're at it...
• Beyonce' needs to go away too, at least from the Oscars. Why does she have to be here EVERY damn year? She so wants one, she can taste it. Be it for songwriting, acting, whatever. I swear, Beyonce's going to make a documentary short just so she can win an Oscar. When is she going to accept the fact that the world fell in love with Jennifer Hudson in 2006 and not her?
  
• Miley Cyrus kind of needs to go away period. I'm aware that that's not going to happen anytime soon, but seriously. I'm fine with tolerating her omnipresence on the Disney Channel, where I don't have to see her. But when you enter the Oscars, you enter my territory and I'm not sharing. Though I will say, fully aware of the sexist undertones, that her lack of poise or couth of any kind makes me laugh just a little bit. She truly is Billy Ray Cyrus's daughter.

That's all I can manage now.
Peace Love and Pretension

Pretentious Film Awards--Winners!

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

Best Motion Picture of the Year

Let the Right One In***
Milk
Rachel Getting Married*
WALL-E
The Wrestler**

Best Achievement in Direction

Let the Right One In - Tomas Alfredson**
Milk - Gus Van Sant
Rachel Getting Married - Jonathan Demme*
WALL-E - Andrew Stanton
The Wrestler - Darren Aronofsky***

Best Performance by an Actor in a Leading Role

Josh Brolin - W.***
Richard Jenkins - The Visitor
David Kross - The Reader
Sean Penn - Milk*
Mickey Rourke - The Wrestler**
(This was an extremely tight race for me between Sean Penn and Mickey Rourke. They are very evenly matched, in my estimation.)

Best Performance by an Actress in a Leading Role

Anne Hathaway - Rachel Getting Married*
Sally Hawkins - Happy-Go-Lucky**
Melissa Leo - Frozen River***
Michelle Williams - Wendy and Lucy
Kate Winslet - The Reader

Best Performance by an Actor in a Supporting Role

James Franco - Milk
Bill Irwin - Rachel Getting Married**
Heath Ledger - The Dark Knight*
Eddie Marsan - Happy-Go-Lucky***
Michael Shannon - Revolutionary Road

Best Performance by an Actress in a Supporting Role

Hiam Abbas - The Visitor
Penelope Cruz - Vicky Cristina Barcelona***
Viola Davis - Doubt**
Rosemarie Dewitt - Rachel Getting Married*
Lena Olin - The Reader

Best Original Screenplay

Mike Leigh - Happy-Go-Lucky
Dustin Lance Black - Milk***
Jenny Lumet - Rachel Getting Married*
Charlie Kaufman - Synecdoche, New York
Andrew Stanton - WALL-E**

Best Adapted Screenplay

Christopher Nolan and Jonathan Nolan - The Dark Knight
John Patrick Shanley - Doubt
John Ajvide Lindqvist - Let the Right One In*
David Hare - The Reader***
Kelly Reichardt and Jonathan Raymond - Wendy and Lucy**


Best Acting by an Ensemble Cast

Burn After Reading
George Clooney, Richard Jenkins, Brad Pitt, John Malkovich, Frances McDormand, JK Simmons, Tilda Swinton

Milk***
Josh Brolin, Joseph Cross, Victor Garber, Lucas Grabeel, James Franco, Emile Hirsch, Diego Luna, Sean Penn, Allison Pill

Rachel Getting Married* Tunde Adebimpe, Anna Deveare Smith, Rosemarie Dewitt, Anisa George, Anne Hathaway, Bill Irwin, Debra Winger, Mather Zickel

Synecdoche, New York**
Hope Davis, Jennifer Jason Leigh, Catherine Keener, Samantha Morton, Philip Seymour Hoffman, Dianne Wiest, Michelle Williams

The Visitor
Hiam Abbas, Danai Jekesai Gurira, Richard Jenkins, Haaz Sleiman

Technical Awards (I don't reward any sound categories, except Best Original Song/Score. I don't feel qualified to judge sound editing/mixing, etc.)

Best Achievement in Cinematography

Australia - Mandy Walker
The Dark Knight - Wally Pfister***
Rachel Getting Married - Declan Quinn**
Stop Loss - Chris Menges
The Wrestler - Maryse Alberti*

Best Achievement in Editing

Burn After Reading - Emmanuel Lubezki
Let the Right One In - Tomas Alfredson and Dino Jonsäter*
Rachel Getting Married - Tim Squyres
WALL-E - Stephen Schaffer*
The Wrestler - Andrew Weisblum**

Best Art Direction

Australia - Ian Gracie and Karen Murphy***
The Curious Case of Benjamin Button - Kelly Curley and Tom Reta
Revolutionary Road - Kristi Zea and Debra Schutt
Synecdoche, New York - Adam Stockhausen*
WALL-E - Zoe Boxer, Anthony B. Christov and Jason Deamer**

Best Costume Design

Australia - Catherine Martin*
Burn After Reading - Mary Zophres
Milk - Danny Glicker**
Rachel Getting Married - Susan Lyall
Revolutionary Road - Albert Wolsky***

Best Original Score

The Dark Knight - Hans Zimmer and James Newton Howard
Milk - Danny Elfman***
The Reader - Nico Muhly**
Slumdog Millionaire - A.R. Rahman
WALL-E - Thomas Newman*

Best Original Song

Forgetting Sarah Marshall - "Dracula's Lament"
Slumdog Millionaire - "Jai Ho"**
The Wrestler - "The Wreslter"*


Awards Tally

Rachel Getting Married - 6 Wins
The Wrestler - 2 Wins
Australia - 1 Win
The Dark Knight - 1 Win
Let the Right One In - 1 Win
Milk - 1 Win
WALL-E - 1 Win

Full Top Ten List of 2008

1. Rachel Getting Married (dir. Jonathan Demme)
2. The Wrestler (dir. Darren Aronofsky)
3. Let the Right One In (dir. Tomas Alfredson)
4. Milk (dir. Gus Van Sant)
5. WALL-E (dir. Andrew Stanton)
6. Synecdoche, New York (dir. Charlie Kaufman)
7. Happy-Go-Lucky (dir. Mike Leigh)
8. The Reader (dir. Stephen Daldry)
9. Wendy and Lucy (dir. Kelly Reichardt)
10. The Visitor (dir. Thomas McCarthy)

My Final Oscar Predictions--Gulp

Here they are. My final predictions about who will take home the gold man ten days from now. No guts, no glory, as Sasha Stone would say.

Best Supporting Actress

Who Will Win: This category is one of the tougher acting categories to read at this point. Why? Because in this category, there is one person who has swept three of the majors. The Globes, the BFCAs and the SAGs. That person should be the frontrunner, except she's not even nominated (not in this category, at least). With Kate Winslet out of the best supporting actress race, this leaves the category relatively wide open. Truth be told, Amy Adams would be the only winner to truly surprise me. Logic would tip the odds in Penelope Cruz's favor. She has the NBR win, now the BAFTA, plus a slew of other critics awards on her side. But Viola Davis has her own little haul of critics awards. Also, consider this. No film that has ever received four acting nominations has ever walked away with ZERO acting statues. That means that, statistically speaking, someone is winning from Doubt, even if it isn't Davis (more on that later). But, Doubt is also the first film to have more than three acting nominations without a corresponding Best Picture nomination, so it's anyone's game.

Who Should Win: I would be happy with a win for Cruz, Davis or even Marisa Tomei, who isn't on my personal ballot, but whom I love as an actress and enjoyed in The Wrestler. But my heart ultimately has settled on Viola Davis.

Best Supporting Actor:

Who Will Win/Should Win: This is Heath Ledger's. It's a done deal. If there is a spoiler, it's Robert Downey Jr, but that's not happening. It's done. And I feel sorry for the person who beats Ledger in this category, because it will be such a monumental backlash. Even though he's most deserving, I still wish that I could go back in time and give Ledger the Oscar for Brokeback, when he was even more deserving.

Best Actress:

Who Will Win: A case can be made for either Hathaway, Streep or Winslet. All three seem to have about an even split of awards between them. However, Kate Winslet bested them at the BAFTAs, which is a huge deal because it was the first time she was competing against them in lead for The Reader. That means that Winslet has won every major award for The Reader that she's been eligible for. Plus, she's overdue and it's a fine performance--the only performance in this category repping a best picture nominee. It's (barely) Winslet's to lose, but it's far from a done deal. The statistic I revealed in supporting actress regarding Doubt and its four acting nominations could easily tip in Meryl Streep's favor. But she already has two. Anne Hathaway shocked those with her brilliant performance who didn't see the hints of greatness in her earlier work. But this is Hathaway's first nomination. Surely, she'll be here again. And since Rachel Getting Married was so phenomenal, yet only managed one nomination, I'm guessing not a lot of people saw it. I could see Melissa Leo winning, since her film also managed a Best Original Screenplay nod. They clearly loved Frozen River. But I still say that this one will go to Winslet.

Should Win: If we're talking about sheer quality, Anne Hathaway's performance is the biggest achievement, I think. She and Melissa Leo are pretty evenly matched in my estimation, believe it or not. And Winslet is also on my ballot. History will look fondly on a win for any of these three performances. This is not the worst ballot in the world, but given the Sally Hawkins snub, it's hard to notice anything else.

Best Actor

Will Win: Yikes. This race is contentious, but it's a good kind of contentious. It's an honest to goodness horserace, with two very worthy competitors (Sean Penn and Mickey Rourke) on about equal footing going into the race. How often does that happen? Usually, it's a media-invented horserace, (ie, Swank vs. Bening: Volume 2), where it isn't really a horserace. Or, it is a horserace, but with one competitor clearly the inferior, (Julie Christie vs. Marion Cotillard). When both are worthy adversaries, it makes things more interesting, less stressful. Weeks ago, I would have said Mickey Rourke, but I honestly don't know. He has the BAFTA now, so that's another check in his column. So here it is. Rourke has the BAFTA and the Globe. Penn has the SAG and the BFCA. There are no statistics to support one's likelihood over the other. So, I'm going to go with my gut and say that Mickey Rourke takes this. Sean Penn would be a lock, had he not won for Mystic River. I know I sound like a broken record, but that's my theory and I'm sticking to it.

Should NOT Win: History will look kindly on a win for Sean Penn or Mickey Rourke. Both were singluar achievements, and I can't decide. I also liked Richard Jenkins. I can't decide who should win at this point, so I'm going to divert and say who shouldn't win. BRAD PITT SHOULD NOT WIN. I am a Pitt fan. I know I failed to mention it on my supporting actor page, but both he and Malkovich were among my finalists in that category for Burn After Reading. I love him, but this nomination just baffles me beyond belief. I don't get it. I don't approve of it and he shouldn't win.

Best Director

Will Win: This will go to Danny Boyle in a Slumdog sweep. Sorry, Gus Van Sant.
Should Win: This should go to Gus Van Sant.

Best Original Screenplay:

Will Win: This is going to be a tight race between WALL-E and Milk, but I think that Dustin Lance Black and his Milk screenplay will ultimately reign victorious.

Should Win: My least favorite of the five is Frozen River, which I still liked. This is the only category this year in the Oscars that contains five winning nominees. I'd be happy to see any of these screenplays win.

Best Adapted Screenplay:

Will Win: Slumdog Millionaire

Should Win: I guess, The Reader. But it's depressing that they couldn't do better here...

Best Picture

Will Win: I think that betting against anything other than Slumdog Millionaire at this point is wishful thinking. It has the DGA, the PGA, the WGA, the Golden Globe for Best Picture (Drama), the BAFTA, the SAG ensemble, plus a slew of other critics prizes. The last film with this much of a haul was The Lord of the Rings: The Return of the King (In 2005, Brokeback Mountain almost had this much of a haul, but was missing the SAG ensemble prize. Plus it was, you know, GAY). And I stand by my original stance. I'm not championing the big Indian fairytale by any stretch of the imagination, but if it keeps The Curious Case of Benjamin Button from winning best picture, I triumphantly sing "Jai Ho" until my lungs are sore.

Should Win: Well, Milk should win. I enjoyed The Reader as well, but Milk was definitely the bigger achievement. It just kind of upsets me that this is the best Oscar could do this year. I loved Milk. It's totally in my top five. But that it should be the best among the five nominated films is crazy, given what Oscar had to work with this year. The Wrestler was hardly too esoteric to be embraced by the Academy. Mostly, I don't think I'll ever forgive the AMPAS for the cold shoulder given to Rachel Getting Married. I enjoyed Slumdog Millionaire and Frost/Nixon, but one isn't being unreasonable or crabby in saying that they're both overpraised and rewarded, given their simple executions and meager goals. The Curious Case of Benjamin Button is a film that should have fallen by the wayside as soon as people saw it, much in the way that Australia did--ie, visually striking and beautiful, but not much more than that. I think it's Fincher's worst film, and I'm including Alien: Resurrection. It baffles.

The Pretentious Film Awards--Best Picture

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


Let the Right One In (dir. Tomas Alfredson)
Beautiful, elegaic, haunting and often terrifying, this is the only vampire film of 2008 that's worth talking about. It paints vampires, not as romantic nor earth-shatteringly beautiful creatures. But sad, lonely ones who walk the earth in search of a place to be--and blood, of course. Oscar and Eli trump Edward and Bella (yawn...wake me when this stupid fad is over) in every way. And this film boasts one of the best ending (or near-ending) sequences captured on celluloid this year. It richly earns its spot here.


Milk (dir. Gus Van Sant)
"It announces itself early on, proudly and unapologetically gay and gay and gay. This is a gay movie about the beginnings of the fight for gay rights, pioneered by one very charismatic, very courageous and very openly gay leader--Harvey Milk. None of this "this is a film about people. This is a film about human rights." Wrong. I mean, yes, I suppose it is, but that's missing the point and only further goes to obscure the issue. Harvey Milk wouldn't have wanted the film classified that way. He would have said, loudly and proudly, "this is a gay film." Those who say yes, welcome. And those who in all of their bigotry and single-mindedness dare to say no can go home and watch the world pass you by. This film is gay and it isn't making any apologies, nor should it. This is the film Gus Van Sant set out to make. The result is his best work in many years (possibly since Drugstore Cowboy) and one of the best (if not the best) performance of Sean Penn's career." (Read my full review of Milk here)


Rachel Getting Married (dir. Jonathan Demme)
" It's very reminiscent of The Celebration, obut it stands on its own. In a lesser film, these [stylistic choices] could all serve to distract. But Demme and cinematographer Declan Quinn know exactly what they're doing here. This is a total departure for Demme and it is easily his best work in years....Freshman writer (and daughter of director Sidney Lumet) definitely has a handle on creating fully formed, flesh-and-blood characters that don't feel like caricatures. It's a very common trend in films about dysfunctional families to create cut-and-paste archetypes that feel overused and stale. In Rachel Getting Married, you believe every word that comes out of these characters's mouths. Nothing is gimmick. It all feels real and incredibly heartwrenching." (Read my full review of Rachel Getting Married here)



WALL-E (dir. Jonathan Demme)
Could it be? Two unconventional love stories nominated here? WALL-E was an uphill battle for me. I have mostly been immune to the charms of Pixar, dating back as far as Finding Nemo. I've been reluctant, curmudgeonly. But after Ratatouille and now WALL-E, are we seeing the beginnings of an animation renaissance? A transformation of the medium from a channel for songwriters and Robin Williams to a form of high art? Watching WALL-E, I couldn't help but think that maybe we're in the thick of such a renaissance, and I've been too slow to realize. Beautifully composed shots, yes. Brilliantly written and animated, in a rare show of restraint and nuance on the part of Disney/Pixar. Gorgeously animated, of course. But ultimately, its story--a love story of two beings trying to find their way in a world gone mad is what snared me. Like EVE, I was won over the minute WALL-E looked at me with those big soulful eyes and I'm not the least bit ashamed to say it.




The Wrestler (dir. Darren Aronofsky)
"Mickey Rourke is Randy "The Ram" Robinson, a popular wrestler from the 1980s, who is way past his prime, but still wrestles professionally simply because it's the only thing he's built for. It's the only thing he's ever done that makes sense to him. We often don't realize how elusive that meaning is for people (even ourselves) and what we will do to hold on to it...The Wrestler is a film that has been talked up so much this year, what with Mickey Rourke's comeback performance that's sure to garner an Academy Award nomination. But the film blindsides you. You're expecting it to be good. You're not expecting it to be this good and in this way. It stands with Rachel Getting Married as two of the only films I've seen this year that completely defied expectation. This is a fine addition to Darren Aronofsky's catalogue of films and certainly one of the best pictures of the year." (Read my full review of The Wrestler here)

Winners Will Be Announced Soon. Here's a comprehensive list of the 2008 Pretentious Film Award Nominees

Best Motion Picture of the Year

Let the Right One In
Milk
Rachel Getting Married
WALL-E
The Wrestler

Best Achievement in Direction

Let the Right One In - Tomas Alfredson
Milk - Gus Van Sant
Rachel Getting Married - Jonathan Demme
WALL-E - Andrew Stanton
The Wrestler - Darren Aronofsky

Best Performance by an Actor in a Leading Role

Josh Brolin - W.
Richard Jenkins - The Visitor
David Kross - The Reader
Sean Penn - Milk
Mickey Rourke - The Wrestler

Best Performance by an Actress in a Leading Role

Anne Hathaway - Rachel Getting Married
Sally Hawkins - Happy-Go-Lucky
Melissa Leo - Frozen River
Michelle Williams - Wendy and Lucy
Kate Winslet - The Reader

Best Performance by an Actor in a Supporting Role

James Franco - Milk
Bill Irwin - Rachel Getting Married
Heath Ledger - The Dark Knight
Eddie Marsan - Happy-Go-Lucky
Michael Shannon - Revolutionary Road

Best Performance by an Actress in a Supporting Role

Hiam Abbas - The Visitor
Penelope Cruz - Vicky Cristina Barcelona
Viola Davis - Doubt
Rosemarie Dewitt - Rachel Getting Married
Lena Olin - The Reader

Best Original Screenplay

Mike Leigh - Happy-Go-Lucky
Dustin Lance Black - Milk
Jenny Lumet - Rachel Getting Married
Charlie Kaufman - Synecdoche, New York
Andrew Stanton - WALL-E

Best Adapted Screenplay

Christopher Nolan and Jonathan Nolan - The Dark Knight
John Patrick Shanley - Doubt
John Ajvide Lindqvist - Let the Right One In
David Hare - The Reader
Kelly Reichardt and Jonathan Raymond - Wendy and Lucy*

*I've stripped Slumdog Millionaire of its nomination here, having not realized that Wendy and Lucy is an adaptation. And Wendy and Lucy has the better screenplay. Duh.

Best Acting by an Ensemble Cast

Burn After Reading:
George Clooney, Richard Jenkins, Brad Pitt, John Malkovich, Frances McDormand, JK Simmons, Tilda Swinton

Milk
Josh Brolin, Joseph Cross, Victor Garber, Lucas Grabeel, James Franco, Emile Hirsch, Diego Luna, Sean Penn, Allison Pill

Rachel Getting Married
Tunde Adebimpe, Anna Deveare Smith, Rosemarie Dewitt, Anisa George, Anne Hathaway, Bill Irwin, Debra Winger, Mather Zickel

Synecdoche, New York
Hope Davis, Jennifer Jason Leigh, Catherine Keener, Samantha Morton, Philip Seymour Hoffman, Dianne Wiest, Michelle Williams

The Visitor
Hiam Abbas, Danai Jekesai Gurira, Richard Jenkins, Haaz Sleiman

Technical Awards (I don't reward any sound categories, except Best Original Song/Score. I don't feel qualified to judge sound editing/mixing, etc.)

Best Achievement in Cinematography

Australia - Mandy Walker
The Dark Knight - Wally Pfister
Rachel Getting Married - Declan Quinn
Stop Loss - Chris Menges
The Wrestler - Maryse Alberti

Best Achievement in Editing

Burn After Reading - Emmanuel Lubezki
Let the Right One In - Tomas Alfredson and Dino Jonsäter
Rachel Getting Married - Tim Squyres
WALL-E - Stephen Schaffer
The Wrestler - Andrew Weisblum

Best Art Direction

Australia - Ian Gracie and Karen Murphy
The Curious Case of Benjamin Button - Kelly Curley and Tom Reta
Revolutionary Road - Kristi Zea and Debra Schutt
Synecdoche, New York - Adam Stockhausen
WALL-E - Zoe Boxer, Anthony B. Christov and Jason Deamer

Best Costume Design

Australia - Catherine Martin
Burn After Reading - Mary Zophres
Milk - Danny Glicker
Rachel Getting Married - Susan Lyall
Revolutionary Road - Albert Wolsky

Best Original Score

The Dark Knight - Hans Zimmer and James Newton Howard
Milk - Danny Elfman
The Reader - Nico Muhly
Slumdog Millionaire - A.R. Rahman
WALL-E - Thomas Newman

Best Original Song

Forgetting Sarah Marshall - "Dracula's Lament"
Slumdog Millionaire - "Jai Ho"
The Wrestler - "The Wreslter"

Nominations Tally

Rachel Getting Married - 10
Milk - 8
WALL-E - 6
The Wrestler - 6
The Reader - 5
The Dark Knight- 4
Let the Right One In - 4
Australia - 3
Burn After Reading - 3
Happy-Go-Lucky - 3
Revolutionary Road - 3
Synecdoche, New York - 3
The Visitor - 3
Doubt - 2
Slumdog Millionaire - 2
Wendy and Lucy - 2
The Curious Case of Benjamin Button - 1
Forgetting Sarah Marshall - 1
Frozen River - 1
Stop Loss - 1
Vicky Cristina Barcelona - 1
W. - 1