Best Pictures 2019: Part I

A Star is Born

A dazzling directorial debut from Bradley Cooper, breathing new life into a classic Hollywood narrative. As the fourth re-imagination of of the same story, there's a danger of being stale and tired, falling victim to over-used tropes and clichés. Cooper, however, fearlessly presses on like a veteran and creates one of the year's biggest and boldest hits.

A Star is Born requires one thing to succeed: a real star. Fortunately, it has two. Lady Gaga and Bradley Cooper are astonishing, with Cooper particularly turning in the performance of his life and Gaga's mesmerising voice will blow you away; the leads make this story real. There's an overwhelming feeling of truth hidden behind the artifice of cinema, helped in no small part by having a pop star reenact the climb to fame with dialogue that feels pulled directly from Gaga's backstory. It's a beautifully shot, masterful piece of work, that seamlessly overcomes its weaknesses such as pacing in its third act. Like the songs it contains, the film hardly misses a note. It's enthralling, moving, and musically outstanding.

Black Panther

Marvel films dominate today's cinematic landscape and appear in, and regularly on top of, lists of the best movies of the year. Whether you believe they're that good or not, no one can deny their cultural impact and certainly not that of Black Panther. The eighteenth film in the Marvel Cinematic Universe caused a worldwide stir at the beginning of 2018 when it was released and those ripples are still apparent now, a year on. It's clear to see why; in a cinematic universe, and more widely a cinematic landscape, featuring predominately white male heroes, the lack of representation for people of colour in cinema's biggest franchise was painfully apparent.

But Black Panther is not just a check box for the MCU's diversity quota; it's a political commentary, a thrill ride of power struggles, and one of the MCU's best movies. In many practical elements, it is flawless. Its production design and costume design are inspired, drawing inspiration from African tribal wear - the image of which contrasts with the valuable knowledge and resources the Wakandans have to offer. It feels more timely, more pertinent today than Marvel's other films, but even its visually impressive and strong design, fresh take on the superhero genre, and brilliant performances can't save it from feeling too neat, too restrained by the bigger picture that the MCU has in sight. With a bit more freedom, it's exciting to imagine what Black Panther could have been.

Bohemian Rhapsody

The controversies surrounding new allegations of sexual misconduct by director Bryan Singer may be an external factor affecting how (and if) one watches Bohemian Rhapsody but on on it's own merits, it still struggles. It's not a bad film, but it's not great. It's all spectacle and no depth and it feels like a cheap imitation of a creative genius. It's not just air-brushing to compress the narrative, it's unnecessarily manipulating Mercury's life to evoke an emotional response and tell a more compelling story. But it feels dishonest; Mercury was a legend, so why adjust key aspects of his life? In order to tell a 'better' story?

And despite being an entertaining romp through Queen's greatest hits, it's often emotively flat. The supporting cast are one dimensional at best which elevates a brilliant performance by Rami Malek by contrast. But there's no character development beyond Mercury, which is strained anyway and mostly hinges on a literal descent into a gay underworld. Maybe there was something worse here, salvaged into something watchable and mostly enjoyable by veteran editor John Ottman, but it's not inventive, innovative, and inspiring like its subject. And really, isn't that what Freddie deserves?

Vice

Featuring a powerhouse politician embodied in a powerhouse performance by Christian Bale, Vice tells the story of Dick Cheney; his subtle rise to a position of power and how he wielded that power. Adam McKay’s energetic follow up to The Big Short is angled in a way designed to make Thanos look like a puppy dog. It’s partisan and biased but it’s completely compelling film making, playing with narrative story structures and using its cinematic medium to full effect. There’s a restaurant scene where the menu offers tasty travesties from the invasion of Iraq, a false ending, archival footage, a Shakespearean soliloquy, and much more. It’s a storytelling marvel.

That being said, it sometimes rushes and sometimes drags and occasionally becomes confusing as we jump between self-aware meta-scenes, safari footage, and the main narrative. There’s a lot to digest which will no doubt require multiple viewings and it’s exciting enough to not make that a chore. It's funny, which only highlights the severity of its subject matter. It's a well aimed satire and, for the most part, it hits its mark dead on.

Oscars 2019: Part II

Free Solo

You may think someone climbing El Capitan without ropes would be the most compelling aspect of Elizabeth Chai Vasarhelyi and Jimmy Chin's documentary but it is the climber rather than the climb that makes Free Solo what it is. Alex Honnold is risking life and limb when he solos, so what makes him attempt the insane? Looking closely at both Honnold and those closest to him, we get a glimpse into the mind of a major thrill seeker and it is exhilarating. By the time we get to the climb, you’ve already sweat a bucket and bitten all your nails off.

It’s a fascinating journey of one man trying to do the impossible and we’re along with him for all the very literal, and all too terrifying, highs and lows. It only really scratches the surface of man vs nature and why someone may want to do this, but it's beautifully shot, somewhat disturbing, and all-together captivating.

If Beale Street Could Talk

Barry Jenkins follows his best picture winning Moonlight with another close-up of life in the black community. He carefully dissects the institutional racism inherit in America, without ever abandoning the love story at the centre of his film. His camera paints poetry with a delicate and deliberate colour palette, capturing and commanding the eye. It glides through scenes like a dream, showing the joy and optimism amongst the pain and the suffering. Beale Street simply doesn’t need to talk when it looks this good.

Powerful performances ground Jenkins’ transcendent style, bringing human heart with strong but flawed characters. The chemistry and tensions on-screen are palpable, drawing the audience into the scene, seating them in the middle of the crossfire and forcing them into the conversation. Occasionally it may drag when indulging its vision too much, but it’s forgivable; ultimately, it’s powerful and emotive film making.

Christopher Robin

For many of us, Winnie the Pooh played a big part in our childhoods but none as big as the part he played in the childhood of his pal Christopher Robin. Also like many of us, Christopher grew up and forgot Pooh, filling his time with other things - work and family - until they reach breaking point with one another. It is at this crisis point that Pooh reappears to help his old friend once again. 

It's a charming film, though very familiar. The plot is ancient, though typically Disney, with some CGI Pooh Bears and Tiggers thrown in, and a goofily archetypal antagonist in Christopher's boss (Mark Gatiss) for good measure. And despite it's somewhat dark and dismal start for an excellent Ewan McGregor's Christopher, the film drips with joy and love for its source material. Pooh, who gets vastly more screen-time than the other critters of Hundred Acre Wood, is a delight, helped in no small part by Jim Cummings returning to voice the beloved bear. At it's worst, Christopher Robin is too plain and simple. At it's best, it's fun; plain and simple. 

Mirai

The true cosmic magic of family, the connections that transcend time, are on full display in Hosoda's Mirai. It's an adventure that plays with linear narrative storytelling, the best method to capture the jealousies, insecurities, need for love, and imagination of a young child whose space is invaded by a newborn sibling.

It's a touching exploration into memory and family, investigating the invisible links that hold the fabric of our lives together but it can be clunky at times. Mirai struggles to maintain its tempo, often too neatly tying up threads before they're suddenly unravelled again for the next mystical encounter. If nothing else, it's a refreshing reminder that animation is still alive and well if not flourishing, without feeling the need to adhere to the formats presented by the big western studios.

Oscars 2019: Part I

A Quiet Place

Alfred Hitchcock has long been deemed the 'King of Suspense' and many have tried to topple him from his throne. With so many worthy suiters, who would ever have thought that Jim from The Office would be one of those vying for the crown, but John Krasinski is more than a sitcom goofball. Director, writer, producer, and star - Krasinski takes 90 minutes and makes them unrelenting and unforgiving.

Featuring stunning performances from Krasinski, Blunt, Simmonds, and Jupe - a.k.a. the whole cast - a near immaculate screen-play, and sound-design to die for, A Quiet Place is a breakthrough for a promising young director. Also, it grabs the award for the best opening in years; if you're not gripped by it, then film-watching may not be for you.

Ready Player One

Steven Spielberg, one of history's most defining and versatile directors, is no stranger to the Oscars. He's won a couple, directed a couple of actors to win them, and been nominated for a couple of handfuls more. Whilst his eyes are normally on bigger prizes than Best Visual Effects, Ready Player One is a fun return to family magic for the veteran director. Set in a desolate future where a virtual reality system, Oasis, consumes everyone's times and lives, people (or rather their avatars) compete within the game to find the late creator's keys which open the doors to his enormous fortune.

Jumping in and out of its magnificent digital landscape, Ready Player One is a feast for the eyes. Almost immediately we're in the midst of a chaotic and reckless race; long lingering shots of computer generated mayhem dominate the screen and it is glorious. The narrative, whilst at times is contrived, is timely - grounded in the digital age - and littered with pop culture references. Occasionally this is the film's greatest strength (a particular scene should not be 'Overlooked'), but it may make the film irrelevant in five years time. For now though, it's a treat to be enjoyed today.

Ralph Breaks the Internet

Ralph Breaks the Internet is, to put it generously, a confused follow up to a great original. It doesn’t seem to know who it is appealing to; do the kids care about ebay’s bidding process, for example. It’s jokes about memes or YouTube videos being all about babies and cats are not satirical, but outdated. If there is a commentary about culture’s obsession with the internet, it’s lost amongst the backdrop of corporate identities and Disney’s intellectual properties. The film has no problem being explicit (it’s presentation of Ralph’s insecurities are like being slapped with a wet fish) but it never really approaches its subject matter with any sort of commentary or, more worryingly for a family film, any joy. At two hours in length, it’s overlong, underwhelming, and misguided.

RBG


Telling the story of a great woman does not a great documentary make. A good, if not simple, documentary that tells a great and important story, however, that may do. Supreme Court Justice Ruth Bader Ginsburg, the notorious RBG, is one of the most inspiring women in the United States and her story is one that people should know. That's where RBG comes in. It's a well structured, well presented documentary that fulfils its aims and its supreme subject's bubbling personality and fiery determination make for good watching.

Best Picture: Part I

Dunkirk


Visionary director and innovative story-teller, Christopher Nolan tackles the tale of one of Britain's most dangerous challenges during the Second World War: the evacuation of Dunkirk. The story is told in three temporalities with three areas of battle - we spend a week on land, a day on the sea, and an hour in the sky. The stories, interwoven into one another, capture the struggle and determination of both the British public and armed forces.

Nolan is at his visceral best. Every bomb hit you, water pouring into a claustrophobic space engulfs you. This is sensory film making as it should be. Delicately balancing his timelines to maximum effect, Nolan manages to tell three powerfully engaging stories which are all as gripping and nerve wracking as one another. A master class in war films.

Phantom Thread


Daniel Day-Lewis' 'retiring' film, Phantom Thread tells the story of a man, a dress maker, though more importantly, he's a perpetual bachelor, allowing women to float through his life and inspire him on a breeze before they drift away again. But falling for one of them disrupts his whole life.

Beautifully shot and wonderfully crafted, Paul Thomas Anderson's latest struggles at times to be fully engaging. Grounded by solid performances by the whole cast, notably Day-Lewis, Phantom Thread is, in essence, a film about the consuming world of fashion and an eccentric designer but his quirks often rub the wrong way, making it difficult to support the central figure and his reluctant pursuit of romance. It works as proof that making a technically brilliant film does not necessarily make a brilliant film.

Get Out


Take a the sense of unease you get in any good horror movie. Combine it with overtones of the racial oppression that haunts suburban, southern USA. What you get is Jordan Peele's phenomenal Get Out, a striking racial satire with Daniel Kaluuya anchoring the film with a star-making leading turn.

The important social issues presented in Get Out are the reason satire exists - to hold a mirror up to society and highlight its blemishes - and Peele focuses his quiet anger on making the audience feel uncomfortable before unleashing it in loud, brutal fashion.  Get Out is bold. Get Out is brave. But most of all, Get Out is terrifying. The question that remains is whether it is the film that is scary, or the darker reality it is portraying?

Call Me by Your Name


Beautiful, relaxed, loving film-making. This is what is on display in Call Me by your Name, the unconventional and forbidden character driven love story set in the countryside of Italy. The camera floats around the leads passively, simply observing something, allowing characters and relationships to evolve in its view. 

Featuring strong performances from its leads but also from the minor characters (particularly Michael Stuhlbarg, who was robbed of a Best Supporting Actor nomination), Call Me by your Name is arguably the most rounded, well crafted film at the Oscars this year. It succeeds on every single level, not to mention Luca Guadagnino's immense control over combining all these elements. This is film making at its very best, its most powerful, its most emotive. And the the long takes are to die for. 

Cults In Space

So yesterday we looked at Pitch Black, the tense, claustrophobic introduction to the life of Riddick. Today we look at the next step in his life; the universe-exploring adventures that followed the end events of Pitch Black. Expect it to be bigger and, well, not as good. This is The Chronicles Of Riddick.

Things happen. That is a basic summary of Chronicles Of Riddick. In a bit more detail, Riddick (Vin Diesel) is on the run from a bounty looming over his head. He takes out a mercenary ship captained by Toombs (Nick Chinlund) and, upon stealing the ship, flies to Helion Prime, where the bounty originated, and is reunited with Imam (Keith David). Then a deadly race of, well, super religious cult-type people called Necromongers invade the planet and plan on converting everyone to their religion. Riddick refuses and escapes the Lord Marshal (Colm Feore) and Purifier's (Linus Roache) plan to find out more about his past (which is all handily revealed throughout the film by a prophecy spirit type thing...). Riddick escapes but, conveniently, is caught Toombs who takes him off to a prison-planet called Crematoria where, super conveniently, Jack (Alexa Davalos) (now called Kyra) is incarcerated. The Necromongers try to track Riddick with the help, or hinderance, of the Air Elemental, Aereon (Dame Judi Dench), whilst Vaako and Dame Vaako (Karl Urban and Thandie Newton respectively) make a plan, for some reason, to kill the Lord Marshal. I think. There was probably a reason for that but it was lost in and amongst all the other confusing nonsense. There is a cult that do not really like Riddick... That's about it.

Riddick's brief stint as Santa didn't work out.

It is hard to know where to start with Chronicles of Riddick... Vin Diesel is reprising his role as Riddick, and keeps the same cool, cockiness that he originally portrayed, but loses the creepy. A lot of the issues with the film come from difficulty following what is going on. There is too much happening to fully appreciate anyone's performance individually. No one performs poorly, but nothing shines either. The plot, as one may have guessed, is overly complex, with six or seven plot lines entwining, but not enough time is spend on anything. Who is the prophecy fairy person? How do some people seem to be able to suddenly stop being brainwashed? Why do the Vaakos want to kill the Lord Marshal? Something about Vaako becoming Lord Marshal himself, it seems. There are a lot of questions that have answers, but they are buried somewhere beneath all of the rubbish piled on top. Everything that made Pitch Black excellent was forgotten in Chronicles of Riddick; the tension, the fear, the suspense, the well written dialogue, the basic plot. It was all gone.

For an intergalactic army, the Necromongers are pretty Medieval.

Not to say the film has nothing going for it. From a purely aethstetic point of view, the action is captivating, and the scenery is beautiful. It is just a disappointment that the context around the visually effective moments is lost in the confusing plot. Perhaps a suitable way to watch Chronicles of Riddick is with the mute function of your television put to good use. Everything really is bigger, but in no way better.

A short review for you all. Let us live in hope that Riddick (2013) will learn from Chronicles mistakes and Pitch Black's merits.

Best Bit? Watching Kyra and Riddick play who is the best killer is the simply the most enjoyable moment of the film. Mindless action that needs no explanation.

Love

Today's film is the ninth film of its kind in the history of the Oscars to be nominated for Best Picture. None have won. What kind of film is that, you ask? Why a foreign language film of course! None have won yet but could today's film rock the boat a little? This is Amour.

A couple in their eighties, Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), live a relaxing retired life in Paris, occasionally going to see the concert of one of their ex-students to see how successful they were at teaching the next generation of masterful pianists. But their days of music teaching are long over especially after Anne suffers a stroke and, despite doctor's best efforts, is left wheelchair bound. Eva (Isabelle Huppert), the couple's daughter, upon hearing the news raises a fuss about what more can be done but Georges defends his wife's decision to not go back to hospital. Instead, he cares for her himself, along with some visiting nurses, and we see how far love can be stretched. For, at its core, Amour is about love.

*

Jean-Louis Trintignant and Emmanuelle Riva are both incredible performers. At 88 and 86 respectively, no doubt people told them that their better days were behind them. How wrong they were. Riva is the oldest actress ever nominated for the Best Actress Oscar, beating the record set by Jessica Tandy by a whole six years and clearly all that age has added up to some undeniably fantastic experience. Sadly, she is extremely unlikely to win next to the more American favourites, Chastain and Lawrence, but she deserves the award nonetheless - She took the BAFTA, so who knows. She heartbreakingly portrays a devastating illness that will strike a chord in many audience members' hearts and will cause more than a few tears. Some will undoubtedly find it uncomfortable to watch. Trintignant, who carries the film, keeps the title of the film at the front of his performance. The pain that is caused from watching the suffering of his life-long love flickers in his eyes throughout the film; it is a rare performance in which reality and art seem too close for comfort. Again, it is likely that the acting will hit home for many people who have experienced similar things.

*

Michael Haneke is very definite in pointing out that he would not dare call this movie 'love' (Amour) if it were a conventional love story. There is more to love than what the movies like to show. Love is pain as well and, through his beautiful direction, Amour truly captures that notion. At points, the film can be horrible to watch as it hovers over the line of artistic representation and realism. No one really has a craving to watch an elderly couple struggle to live. But at the same time, that is part of the film's appeal. Handled so beautifully and bravely, Amour presents something very real and that makes it hard to not watch. A true wonder of cinema.

A beautiful, realistic, and artistic piece of French cinema. A perfect example of reasons to watch foreign films. As Westerners, we have a habit of ignoring the rest of the world but but it is a good thing Amour slipped through that veil.

Best Bit? There are far too many moments to pick from. Just watch it.

*Forgive the lack of humorous annotations, I have nothing funny to say.

Disorders And Football

Today's film is the first film since 2005 to be nominated for the 'Big Five': the five Oscars that all films dream of holding. Best Director, Actor, Actress, Screenplay, and Picture. Only three films have won all five (It Happened One Night, One Flew Over The Cuckoo's Nest, Silence Of The Lambs) and nothing has been nominated for all five since Million Dollar Baby in 2004. Admittedly, today's film shares similar themes with One Flew Over The Cuckoo's Nest, but does it have what it takes to gain equal success at The Oscars. This is Silver Linings Playbook.

The film opens with Pat Solatano (Bradley Cooper) being discharged from a mental health institution by his mother, Dolores (Jacki Weaver), after 8 months of a court ordered stint. After discovering his wife, Nikki (Brea Bee), was having affair, Pat pummelled the involved man to a pulp, was institutionalised, and had a restraining order placed upon him. Now, out of care, he tries to come to grips with his bi-polar disorder and tries to settle back into his old life with the intention of winning back Nikki. He soon meets Tiffany (Jennifer Lawrence), a girl with similar disorders, who seems to take a liking to him straight away but, as well as trying to fit in to his father's (Robert De Niro) superstitious affairs, Pat really just wants to impress Nikki. He loses weight, takes up jogging, and it seems like the secret to getting back with Nikki may lie within Tiffany and her connections. But will it be smooth sailing for Pat or will his history and therapy get in the way?

There was clear reason to think Cooper's role was trash.

Silver Linings Playbook is a rarity in casting. It has been nominated for all four acting Oscars (as well as the big five. Phewie!) which only 12 other films have ever done. The last was Reds in 1981. No film has one all four - only two have won three. Bradley Cooper and Jennifer Lawrence, as a pair, have incredible chemistry on screen. Admittedly, their connection is not necessarily the most positive at many points - their arguments stand strong as some of the best moments of the film. Cooper, supposedly, does a very decent job of portraying bi-polar (though there's a lot of debate over this) but, as a none sufferer, it seems real enough. Lawrence reflects the realism in her portrayal of Tiffany but still has all the heart you'd expect from such a film. Weaver and De Niro both take hold of their roles with real dedication. It is wonderful to see De Niro back on form after he seems to have done some Focking dreadful films (geddit?)  and this is really on form. The heartbreak of seeing a son that just is not the same and watching them live a life where their family is no longer their most important aspect in their life is completely visible in De Niro's performance. Similarly, Weaver's motherly nature is at the forefront of her performance with a heart bigger than the hug she would offer. A lovely performance, if not moving sometimes.

Brad counts his Oscar nominations.

A true feel good story. A whole range of emotions are presented throughout Silver Linings Playbook, and each audience member will be touched by something different. Whether it is the idea of family supporting each other no matter what, having a mental disorder, or even love, there is something for everyone. A well selected soundtrack supports a wonderful film. However, the comedy can sometimes jar with, what is really, a serious subject matter. Laughing with mental disorder seems a little obscure. But that doesn't take away from the films merits. It is still a wonderfully enjoyable piece of cinema and is bringing attention to really important factors in our society that often get overlooked. David O. Russell brings something that we need to take note of to our screens.

A completely delightful film. Touching, funny, and, most importantly, topical. A film that makes you think and look at the world around you.

Best Bit? The finale is guaranteed to put a smile on even the most miserable bastards face.

Baseball Is About Money?

Every year there is a sports film nominated. Every year there is an underdog movie that gives us a little guy to root for as they stick it to the man. Every year there is a film about smart people doing something cool with their intelligence. This year, we get all of the above. This year they all arrive in one movie. This year, we have Moneyball.

Ex-Baseball player, turned scout, turned general manager of the Oakland Athletics, Billy Beane (Brad Pitt), is facing a tough time with his team. With his incredibly limited budget and bigger teams taking all his best players, he needs to make a change. While trying to gain new players, he meets Peter Brand (Jonah Hill), a Yale economics graduate who has moved into the Baseball world with radical ideas about analysing players. Beane hires him and together they begin a new way of choosing players with their limited budget, much to the anger of the more traditional scouts and the Athletics coach, Art Howe (Philip Seymour Hoffman). But Beane and Brand believe in their theory and they call it moneyball. (MOVIE TITLE!!!)

Brad got a group together to watch the other Oscar nominated  films.
This was the turnout for Transformers 3.

Brad Pitt, another of my favourite actors, is nominated for another Oscar (his fourth nomination, no wins), stars in this movie and in my opinion, was average for the majority of the movie. Now, he had moments were there were completely genuine emotions and moments were he really deserved an Oscar nomination. However, that being said, to me, he seemed very Brad Pitt-ish. More often than not he just seemed like he was doing the slight cocky attitude that is underlying in most of his characters. Obviously, I'm comparing him to the other Best Actor nominees and personally I thought he was not to the standard of George Clooney or Jean Dujardin. Jonah Hill, on the other hand, went miles away from his normal comfort zone. His normal role of the rude and fat friend that has way too much undeserved arrogance is completely thrown away. Peter Brand is smart, quiet, and shy. Up next to the big names in Baseball, he shows all his nerves and how uncomfortable he is there. He is out of his depth and he knows it. Definitely worthy of an Oscar nod and as only two of the nominees are in Best Picture nominated films, his chances with the Academy are put up. Also worthy of mention is stingy coach Art Howe, played brilliantly by Philip Seymour Hoffman, and Billy Beane's daughter, Casey, played by Kerris Dorsey. Dorsey was really the emotional undertone of the movie. She hits you in the heart with an absolutely wonderful singing voice and adorableness.

'I just ordered 5000 of these fancy hats. Reckon we can sell them?'

Also nominated for Best Sound Mixing, Best Editing and Best Adapted Screenplay. As far as editing goes, I don't think it tops other nominations, but surprises happen. With the sound, it was mostly nothing special. On the other hand, there are moments of sound, or lack of sound, that are breathtaking. The thwack of a bat followed by silence. The silence in between bursts of noise from Beane's radio. It can be outstanding. Camera wise, there was only one shot that I was significantly impressed with. Apart from that, there were plenty of generic long locker room shots, empty fields and ball parks. Finally, the writing, while good, does not live up to Aaron Sorkin's previous works (he won the Oscar for The Social Network last year) and I just felt that the dialogue was patchy.

Overall, it was a good film. A sport movie that doesn't involve much sport and the underdog is behind the scenes. A bit slow in points and everyone involved (with the exception of Jonah Hill) have done better work. If I was to predict its Oscar wins, I would predict the only one it's possibly going to win is  Best Supporting Actor. But then., they say the right people win Oscar's for the wrong films so perhaps it is finally Brad Pitt's year. I plan to put up a full prediction list when I have watched all the movies so stay tuned. 

Best bit? I must say, I loved hearing Beane's daughter sing but my favourite part was right in the middle of the movie when Beane and Brand have got their theory in full swing and the entire pace of the movie picks up for a few scenes.

Nothing Bad Happens In Hawaii... Right?

Best Picture nomination number two. A film that constantly makes me say, ‘What else have they been in?’ A film hailed as essential viewing and nominated for 5 Oscars including Best Actor, Best Director, Best Adapted Screenplay, Best Editing and, obviously, Best Picture. A film set in the beautifully idealistic islands of Hawaii. A film known as The Descendants. 

The film tells the story of Matt King (George Clooney), whose wife, Elizabeth, has been left in a coma after a motorboat accident, and his two daughters, Scottie (Amara Miller) and Alex (Shailene Woodley), as they come to terms with their mother's condition. Alex is 17, a bit of a rebel and is at boarding school. Scottie is ten and is taking her mother's accident pretty badly. Matt, who hasn't had to look after Scottie alone since she was three, is suddenly thrust into the world of single parenting with two daughters that he has not spent enough time with and no longer understands. There is added complications thrown in as Matt is the head trustee of a large area of land that his family have passed down over generations and it is entirely his decision as to how the family sell it. On top of this, Alex refuses to be civil without her best friend Sid (Nick Krause) at her side, Matt's father-in-law, Scott (Robert Forster), is extremely critical of how he is handling the situation, and Matt's surrounded by the guilt his shambles of a marriage. As Elizabeth edges closer to death, we are drawn into Matt's life to see how he copes.

Family in trouble? Call the A-team
(Plus, look at Shailene Woodley... Need more reson to see the movie?)

 George Clooney is nominated yet again for Best Actor and, once again, he deserves it. I've been slightly angered by people's judgements of George Clooney after reading the IMDb forums but I tell you now, he is superb. But this film is about one man coping with pain. With suffering. With losing control. In reality, this doesn't happen with large, heartfelt, speeches in the rain. It happens with shock, confusion, desperation. Clooney shows every deep emotion with every part of his body. The contrast of a smile with his sad eyes. Personally, I found it a very moving performance. Definitely worth an Oscar nomination. Also pulling out some awesome acting chops is Shailene Woodley. Not only is she absolutely stunning, she's also a very good actress. She balances the line between angry teenager and broken hearted daughter perfectly. Her performance is gripping and I'm half surprised she didn't get a Best Supporting Actress nod. Also worth a mention is the very brief apperance from both Shaggy, Sorry, Matthew Lillard, and Judy Greer as Brian and Julie Speer. While their screen time is small, their effect is huge. 

George decided to grow a bushy beard for the role

I thought this was a very well constructed script. Having said that, there were moments that seemed unneeded. There is an overwhelming sense of realism throughout the movie. People don't announce their problems to the world, they keep them close. Because of this, the dramatic irony throughout the movie is absolutely heart breaking. As Elizabeth comes closer to death, Matt is constantly told, 'She's a fighter. She'll be fine in no time,' and he responds with a smile that shows all the pain and suffering that we know is there but the other characters would never recognise. As well as a sturdy script and great acting, the Hawaii based score is a pleasure to listen to and, when combined with the idealistic setting of Hawaii's gorgeous cliffs and beaches, causes a heart-rendering juxtaposition from the events of the film.

A really, really good film. Certainly one of George Clooney's strongest performances despite what amateur reviews on IMDb say. A captivating, passionate, and emotional story. It reaches into the depths of your heart and tugs strings that you didn't know existed. Even with the comedy input, this film is extremely touching. If you've experienced losing someone close to you or had to deal with someone you loved being in hospital for a long time, some moments may ring all to true. It is a sensitive subject and it is treated as exactly that, sensitive. A must see.

Best Bit? This is hard. I love the confrontation between Matt and Brian Speer. Some quality acting from all involved as well as an important message for all. Be the better person.