Project X (Nima Nourizadeh, 2012)

John Hughes defined Generation X through his iconic depictions of growing up in 1980s America. Project X, if attempting to depict the current generation of people about to enter the adult world, is as nihilistic as it gets. Abandon hope all ye who enter here at this house party.

Using the tired hand held camera gimmick, the film follows three unpopular high school students throwing a huge party in an attempt to gain popularity. The party goes out of control, literally destroying a neighborhood. Apparently it’s a comedy although there are no laughs whatsoever. Trying so hard to be edgy in its depiction of partying (and that really is all there is in the film), it fails in every respect.

The three leads are unconvincing and unlikable, unlike the protagonists in the superior Superbad, which this film shamelessly rips off. More unlikable are the party guests who drink and sleep with one another. 90 minutes later, and pretty much nothing else has happened.

There is an overhead shot our apparent hero sticking his finder up and a helicopter, ‘sticking it to the man.’ He has a middle class upbringing, he lives with his parents in a huge house, and a seamlessly ending supply of money. He has nothing to rebel against, but the party guests seem to riot anyway. When the police turn up to shut the party down, they fight back. The message appears to be teens have the right to drink, take Ecstasy, destroy property and have a damn good time doing it. The film is devoid on any other purpose than to show the audience a thousand teenagers having a good time. They characters are the only people having a good time in this experience.

A truly soulless and pointless film. If this is the currently generations American Pie, Animal House, Porkies or Breakfast club, this generation sucks.

The Woman in Black (+ February round up)

The Woman in Black (2012) James Watkins

A Post-Potter Daniel Radcliffe plays widower Arthur Kipps in this scary adaptation of Susan Hill’s novel.

Remember Ghost Train’s at funfairs? You pay your fee, you take the ride, you jump and scream at the various gimmicks that jump out and inevitably laugh about it all once you complete your journey, before immediately forgetting the whole experience when something else comes along. In case you hadn’t guessed, that is an analogy for this fright fest of a picture.

Despite looking too young for the role, Radcliffe is suitably cast as Kipps, a lawyer forced to prove himself by sorting paper work in a spooky old house. Things a

ppear strange from the minute Kipp steps off the train in a small Yorkshire town. The townsfolk are in a state of trauma due to the mysterious accidents and suicides that their children are involved in. Kipp becomes involved after an encounter with the woman in black, a spectral figure who is causing all this death and destruction.

Ignore the 12a certificate; regardless of age, you will be suitably frightened thanks to the films surprisingly intense atmosphere and frequently sustained suspense sequences. Watkins expertly manipulates our senses, using classic horror icons such as creepy dolls, creaky floors and sudden bangs. Radcliffe is the king of the ‘reaction shot’, having r

esponded to CGI in the Harry Potter series for the last ten years, and you’ll believe the fear he shows as he creeps around the house silently for large sections of the film.

When the film isn’t trying to scare you, it keeps its dark, brooding atmosphere but lacks surprises. The plot is a simple affair and only really serves a purpose to link a series of suspenseful set pieces. That is except the ending, which manages to be both sentimental and rather macabre.

See this at the cinema for maximum enjoyment, as without the atmosphere and scares there is little else to this film, but it succeeds in what it sets out to achieve, to spook us.

****

Extremely Loud and Incredibly Close (2012, Stephen Daldry)

What seemed like a sure fire Oscar contender, Daldry’s exploration of 9/11 trauma through the eyes of a young autistic boy, has been met with great hostility amongst the critics. This is largely due its implausibility and over simplification of the most significant event for the Western World this century.

However, this isn’t really an attempt to provide the audience with post 9/11 catharsis, instead it is a fairy tale/fable about a young boy trying to understand and accept the loss of his father. Using autism to explore complex events isn’t new, and in fact the Bollywood film ‘My Name is Kahn’ also using an autistic protagonist to explore America’s response to 9/11. As in that film, the young boy’s attempt to find a lock for his father’s key in an attempt to hold onto his memory, allows the audience to take a detached and child-like view on 9/11. This has its problems but serves the plot well.

The film itself is interesting, but not believable, as a 9-year-old boy wit Asperger’s travels Manhattan trying to find a person to whom the key belongs. The most interesting part of the film is when Oskar, the boy in question, gains a silent travelling companion. Expertly played by Max Von Sydow, he is a character known only as ‘the lodger’ who has made a choice not to speak. We never find out, in detail, the reason behind his choices, which is one of the many unanswered questions found within the films narrative.

It is too small scale and personal to explore 9/11 trauma, but it’s themes of loss, trauma and hope will speak to most audience members. As Oskar replays his Father’s final voicemail messages from the World Trade Center, trying to make some sense out of the catastrophe, and ashamed at his own response and cowardice, it is impossible not to be moved and appreciate the allegory. A surprisingly effective picture, if not taken too literally.

***1/2

The Vow (2012, Michael Sucsy)

Poor Rachel McAdams, she is always forgetting the love of her life. In The Notebook she suffered from dementia, and in her latest offering she’s gone and got amnesia. Just like the former and better film, this plot device allowed the screenwriters to present a series of flashbacks showing how our young couple met and fell in love in sickly sweet fashion.

This film partially succeeds thanks to two great performances by McAdams and Channing Tatum. Tatum in particular is excellent, but let down by his unrealistic, impossibly patient and warm character. After a nasty car crash McAdams character, Paige awakens to find she cannot recall the last five years of her life. As far as she is concerned she is still engaged to her ex-fiancé, and cannot recall why her life has changed so drastically (she is a law school drop out turned bohemian artist.)

The film lacks comedy, and heartache. Tatum, playing Paige’s husband Leo, rarely loses his temper or gives up hope and instead sacrifices everything to get his remind his wife why she fell in love with him. Maybe I’m a pessimist, but his constant good nature is unrelenting, ruining any realism, and indeed any drama.

However, it turns out the film is based on true events, so people like that must exists. Good for them!

**

January Round Up

Roper Review – January Round-Up.

Nothing like a bit of healthy escapism to deny the winter blues. I missed a few big hitters this month but saw a decent array of flicks to warm the cockles. Here are my thoughts.

Mission Impossible: Ghost Protocol

Mission Impossible 3 was a film that truly surprised me. More than just a solid action flick, it was a taut and intense affair that elevated Ethan Hunt to the likes of Bourne and Bond. Brad Bird’s (of Pixar fame) follow up lacks the bite of the previous entry into the series, largely thanks to a lackluster enemy, but still has some stand out action set pieces.

The nonsensical plot involving nuclear missiles is easily forgotten, but as you watch Cruise dangle off the tallest building in the world with only one hand, you’ll forget all about his personal life and simply route for Ethan’s survival. Simon Pegg provides some humor in a surprisingly meaty role as the ‘techy’ in Ethan Hunt’s team. You get the feeling the studio feared Cruise’s personal life affecting the box office takings as he gets less attention in this film, but still proves he is one of the most committed actors in Hollywood as he leaps, dives, shoots and fights his way around the world in a nicely entertaining affair.

***

The Artist

If a better film comes out this year, it will have to be an instant classic. What seemed like a ‘darling’ little film at last year Cannes film festival has become a huge hit; rightly so, but rather surprising considering it is essentially a black and white, silent film.

Funny, tragic and romantic thanks to stellar performances by the films leads, it tells the story of a silent movie star who cannot cut in in the world of ‘talking pictures.’ A magical score and perfect pacing elevate this film from art-house experiment to top-notch entertainment. Fight against any reservations you may have and go and see this gem.

*****

Goon

A foul-mouthed Canadian comedy sees American Pie’s Stifler (Seann William Scott) playing a simple small town bouncer who is drafted to a major league Hockey team when his talent for fighting is recognized. A simple sports comedy, you know if you’ll like it from the trailer. Some successful slapstick (and surprisingly brutal) moments provide the laughs but it’s a very forgettable flick.

**

War Horse

Spielberg’s predictably epic adaptation of Morpurgo novel fails as much as it succeeds. It is beautifully shot, stirringly scored and well acted all round; however, it is also overlong and jarringly episodic.

The sanitized war scenes display the horrors of war in family friendly fashion, and there are some stand out moments that show that the master director knows how to tug the heartstrings and quicken the pulse. Joey’s (the horse) flight through no mans land, and a tragic tale of two German siblings who want to escape the fighting will linger with you long after the film finished. However, so will a sickly sweet after taste of a overtly sentimental film that has long dull stretches, and a structure that doesn’t allow you to get attached to any character before they are either killed or left behind as Joey continues his journey. Not a complete failure, but far from Spielberg’s best.

**

Haywire

A direct to DVD plot, staring a professional female kick-boxer is an usual choice for Oscar winning director Steven Soderbergh, but thanks to his undeniably stylish talents this is an thrilling and classy action thriller. The story is a simple revenge thriller of a government agency that turned on its star assassin. Newcomer Gina Carano plays the assassin, and she is tough as nails!

She fights her way through a star-studded ensemble cast in a series of realistic looking bare bones conflicts. It is pure style over substance, but it is done so well you won’t really care.

****

Coriolanus

Ralph Fiennes adaptation of a lesser known Shakespeare play is a good attempt to modernize the story, but unfortunately the story is so poor it drags the film down. Set in a war torn Rome, it revolves around a soldier who is declared a war hero, yet despises the very people that idealize him. Gerard Butler plays the soldier’s arch nemesis. He is someone who can’t act his way out of a paper bag, and remains as wooden as ever. It starts promisingly, but just like the original play, as an awful ending that ruins the exciting build up. Avoid.

*

The Descendants

George Clooney’s greatest performance is the only reason to see this depressing and slow melodrama from the usually excellent Alexander Payne. Set in Hawaii, the plot concerns a Clooney’s character trying to rekindle his relationship with his daughters as they cope with the loss of their mother.

Beautifully shot and performed, but the plot revolves around one emotional conversation to the next. There are moments of comedy, but the whole film is too downbeat, and too emotionally restrained to engage.

**

The Gray

Liam Neeson continues his acting renaissance as Hollywood’s new hard man in this thrilling and moving adventure. When a plane carrying manual workers crashes in the mountains of Alaska, the survivors must face the harsh conditions with no hope of rescue. To make matters worse, they are also been pursued by a pack of wolves.

Liam Neeson has fought the dark side, batman, highlander, the Nazi’s and now a pack of canines. Somehow his natural gravitas, and superb direction from Joe Carnahan makes this a gripping and at times insightful journey. Highly recommended.

Chronicle

This film has come out of nowhere, just like the powers the films stars encounter. A superhero movie, filmed through a video camera a la Cloverfield, paranormal activity etc, Chronicle is fantastic. Arguable the home movie gimmick isn’t needed as the concept is interesting enough.

Choosing to ignore Peter Parker’s motto ‘with great power comes great responsibility,’ the boys initially use their newly found telekinesis for Jackass style pranks. Eventually they learn to harness their power and fly, but unfortunately, not all of the boys choose to use their powers for harmless pranks. A morality tale, a study of friendship and a thrilling action film, Chronicle is a marvel.

****

Roper Review Review of the Year 2012

It’s a time to reflect on the year that has passed. As we approach what, according to the Mayan calendar, is the year the world will end, we can go safe in the knowledge that 2011 was a good year for film. Slightly reducing the number from last year, I saw 65 films at the cinema. This is a list of the best at worst of those, from 10 (being the 10^th best/worst and 1 being, in my opinion, the definitive worst or best film of the year).

Best 10 films of the year

10. Submarine: Richard Ayoade’s (The I.T Crowd) debut film is a rarity as it displays real cinematic flair from someone whose previous background was purely television. A moody and comic exploration into teen angst and first love, the excellent direction and a spot on performance by the unknown Noah Taylor captures the heartache of a teenager’s first love.

9. 50/50: The description of this plot is enough to turn many away, ‘a comedy about cancer staring Seth Rogan and the kid from third rock from the sun.’ However this is fantastic film, equally tragic and comic and demonstrates in an honest and candid fashion the impact cancer can have on someone’s life. Mercifully the film is in no way exploitative and in instead, in every way, enjoyable and moving.

8. Red State: Kevin Smith’s (silent bob) return to the indie scene, this is a brave film about religious terrorism and post 9/11 America. In turns a stoner comedy, a torture horror, a melodrama, a thriller and a nihilistic political statement, somehow Smith pulls it all together. The most unpredictable film I’ve seen in years.

7. 127 Hours: Behind Blue Valentine, this is the most moving film of the year. Causing a friend of mine to faint, and many more to break down into tears, Danny Boyle’s seminal film manages to transcend the screen and put its audience between a rock and a hard place, helped along with a career making performance from James Franco.

6. The Tree of Life: This film has caused more walkouts than the Human Centipede 2, with audiences baffled with its non-linear narrative and meandering ventures into the birth of humanity when they were expecting a Brad Pitt star vehicle. In turns thrilling, tedious and profoundly introspective, it invites the audience to reflect on their life a rare feat for a medium associated with escapism.

5. Rise of the Planet of the Apes: James Franco’s second appearance in this list, only he keeps his arm and hangs out with a CGI monkey (sorry, a Damn Dirty Ape). Restarting a franchise destroyed by sub-par sequels and an awful Tim Burton reboot this was the summer’s most thrilling and constantly engaging film.

4. We need to talk about Kevin: A mother trying to atone for an atrocity committed by her offspring, this film is an intense exploration of grief and shock. Lynne Ramsay brings her art house background to create a hypnotic film and Tilda Swinton’s performance as Kevin’s mother, is the best acting work this year.

3. Blue Valentine: An incredible bleak representation of a broken marriage, this film is almost as deflating as the very act of being dumped. Ryan Gosling and Michele Williams give brave, intimate and very physical performances as the unhappy couple who slowly realise that are in a unworkable relationship. Not one to watch twice, but to experience once.

2. Kill List: The scariest and most surprising film of the year, Kill List is the best British film of the decade, although certainly not for everyone. Two hit men descend into the dark heart of the Sheffield countryside as they try to complete a simple task, kill some people on a list. Incredible unnerving throughout with jet black humor and an ending that provokes eons of analysis and debate it is a must see.

1. Drive: Ryan Gosling speaks with actions not words in this spellbinding film by Danish director Nicholas Refn. A visually stirring amalgamation of violence and emotion it warrants multiple viewings to take everything in. A simple revenge plot leaves room for stellar direction and the best soundtrack in recent memory. On paper, it sounds like a direct to DVD thriller, when it fact it is the best film of the year! See it.

Honorable Mentions:

The Guard, Hanna, Midnight in Paris, Black Swan, True Grit, Insidious, Super, Super 8, The inbetweeners.

Worst 10 of the year

10. Tinker, Tailor, Solder Spy: Despite universal critical acclaim, I found the film well directed, superbly acted but all together rather dull. Sorry.

9. In Time: An interesting concept, set in the future where time is used as currency. However it quickly decends into incredible dull action sequences and Bonnie and Clyde style bank heists. Unacceptably lazy direction

8. Final Destination 5: Déjà vu for the fourth time as the horror franchise recycles the plot and even the set ups. Considering the fourth film was called, ‘The final Destination’, it appears 3D is breathing new life into this increasingly stale series

7. The Adjustment Bureau: Plot holes aplenty in this bizarre romantic sci-fi, lacking any chemistry between its stars Matt Damon and Emily Blunt, and the most boring chase sequences ever filmed.

6. New York I Love You: Along with Valentines Day and New Years Eve, this is a series of dull stories, when even those lasting five minutes feel stretch beyond their running time.

5. Transformers: Dark of the Moon: Michael Bay continues his assault on cinema. Somehow, the third installment is longer, louder and more stupid than the first two, and this time it was in migraine inducing 3D! Enough already.

4. Your Highness: A medieval stoner comedy completely devoid of laughs. Even James Franco and Natalie Portman cannot save this.

3. Cowboys and Aliens: This film has Cowboys…and Aliens….and they fight. Whoever wins between the two the audience loose.

2. Battle Los Angeles: Oooo look more aliens, this time fighting US Marines. Noisy and ugly, the camera doesn’t stop shaking throughout but cannot mask the lack of plot or excitement.

1. The Hangover Part 2: The first one was ok, the second one recycles the same spirit and mixes them with shots of xenophobia and homophobia making a cinematic cocktail that could induce vomiting. Rubbish!

Let me know if you agree or disagree and happy film watching!

Roper Review Round Up

Busy times means less time to indulge at the movies and even less time to review. My film viewing over the last two months has been limited and there are loads of films, probably better than these, that I would have love to have seen. Here is a round up of the mostly mediocrity that has met our silver screens in feb/march.

John Carpenter's The Ward (John Carpenter, 2011)

This is an awful John Carpenter horror film that lacks any real scares and is no better than an average episode of Buffy the Vampire slayer, complete with man in a costume running about making growing noises. Set on a psychiatric ward and full of slightly offensive ‘wacko stereotypes’ it is not worth the ninety minutes it takes to watch. A last minute plot twist can be spotted a mile off and this film demonstrates that the once seminal director may have completely lost it.

*

The Fighter (David O. Russell, 2011)

A run of the mill sports drama. Very well acted and when the boxing kicks in you are right in the ring with them, I found my arms flinching. A satisfying but unremarkable film.

***

Rabbit Hole (John Cameron Mitchell, 2010)

A sad little picture following a couple as they try to move on after the death of their child. Nicole Kidman is excellent as the mother trying to repress her emotions whilst Aaron Eckhart makes up for the awful Battle: Los Angeles through his excellent performance. Tirelessly sad with little sparks of humour, this is neither the hart wrenching melodrama nor exploitative weepy it could have been. An original picture.

***1/2

True Grit (Ethan Coen, Joel Coen, 2011)

The Coen’s first true Western, after using the genre in their work from their early pictures, this is a fantastic and unusually mainstream picture from the best brothers working in film today. A story of revenge and ultimately redemption which sees a young girl (a flawless performance from Hailee Steinfeld) trying to find the man who murdered her father. It feels so authentic that it is impossible to fully understand Jeff Bridge’s southern drawl, which is shame as the dialogue is rich and full of humour. A little lacking in the usual Coen originality, this is still a beautiful and enthralling film.

****

Drive Angry 3D (Patrick Lussier, 2011)

‘I’m not going to rest until I drink beer from his skull’ claims Nicolas Cage’s Milton, the aptly named escapee from hell who is after the kidnapper of his child. Disappointingly there isn’t much angry driving in this film, Cage is largely emotionless as he fights his way through Texas after a psychotic cult leader. This film seems to come from the Roger Corman school of 3D as bodily parts and fluid flies out of the screen. At its’ best it is a Tarantino light Grind House picture, at its worst it is a mindless action flick.

**1/2

The Adjustment Bureau (George Nolfi, 2011)

The biggest disappointment of the year so far. It has an interesting premise as Matt Damon and Emily Blunt fight against fate personified who forbid their love as it is not ‘meant to be’. The film works as a romantic drama but utterly fails as a fantasy thriller. Spectres of fate can kidnap and take Damon away to hidden warehouses and stop him in his tracks but cannot out run him up a building? Ultimately it is a very dull experience.

**

Rango (Gore Verbinski, 2011)

An artistically impressive but overlong animation from Gore Verbinski. Johnny Depp is brilliantly cast as the easy going chameleon who finds himself lost in the Nirvada desert. Its’ short comings arrive from a confusion towards which audience to pander resulting in some jokes falling flat for entire audiences. Kudos to the director for giving us an animation that is mature enough for adult audience and not in 3D! There’s hope for the animated film outside of Pixar yet.

***

Battle: Los Angeles (Jonathan Liebesman, 2011)

An astoundingly stupid film. Aliens invade LA and an army of clichéd characters fight back. The fact that it is an alien invasion is seemingly irrelevant, this is the most ridiculous war film in years. It is like watching someone play a video game and not being able to play. I slept through large portions of this.

*

Hall Pass (Bobby Farrelly, Peter Farrelly, 2011)

Another entry in the post-hangover series of comedies seeing middle aged men trying to rekindle their youth. Two married men are granted a hall pass allowing them a week off from marriage. There is some fun to be had seeing two men fail miserably in their persuade for young women but as a picture from the gross-out mixed with sentiment Farley Brothers there is only one direction they can do. Worth seeing solely for a sequence in the credits in which our own Stephen merchant gets a hall pass, the single most funny moment this year.

***

Submarine (Richard Ayoade, 2011)

My film of the year so far. First time director Richard Ayoade shows real cinematic flair in a drama about growing up in Wales. Oliver Tate tries to woo his girl and save his parents’ marriage in a selfish quest for fulfilment. The stroke of genious in this film is that he isn’t a likeable character, like a less violent Alex from A Clockwork Orange, he indulges in ‘a light bit of arson’ to charm his lady and breaks into his neighbours house to investigate his mother’s private life. Originally shot using fantastic colours and a soundtrack from Alex Turner it is a moving and amusing film that sound be seen by everyone.

*****

Limitless (Neil Burger, 2011)

A high-concept thriller which finally shows that Bradely Cooper has what it takes to take a lead in a film. This enjoyable film begs the question, what it would be like to take a pill that made you a genius. The answer seems to be pretty fantastic as Cooper goes from zero to hero. Director Neil Burger pulls all the tricks out of the bag as he zooms his way through New York City capturing the intoxicating and trippy adventure the wonder pill leads our hero on.

****

Source Code (Ducan Jones, 2011)

Duncan Jones follow up to his brilliant debut ‘Moon’ is equally mind bending and only slightly less successful due to a faltering conclusion. Jake Gyllenhaal playing a US army helicopter pilot wakes up to find himself in the body of a complete stranger on a train, eight minutes away from death when a bomb goes off. He is tasked with reliving the last eight minutes on this train repeatedly too find the bomber to prevent a second attack. Whilst this would be enough of a story for your average thriller, Jones troubles us with bigger questions such as where exactly is Gyllenhaal’s character operating from, why has he been chosen and how the hell does this time travel even work? A frequently thrilling, surprisingly funny thriller that would have got 5 stars if it had finished five minutes early than it does. A last act twist which defies any logic and reason taints what has been an enthralling mind-bending journey.

****

Insidious (James Wan, 2011)

I was lucky enough to attend the UK premier of this film and meet its’ writer and director. As the lights dimmed the film makers told us to prepare to ‘scream and gasp in fear’ like our American counter-parts had in screenings. Being typically British, nothing could be heard but the film and a few nervous giggles and then finally a polite reserved round of applause. This was a suiting response to an fun but unremarkable horror film.

Horror films run in trends, from the slasher revival of the 1990s to the Japanese remakes of the early 2000s, the graphic ‘torture porn’ films of the last few years and now the ‘haunted house flick’ which harks back to the early 50s. It is nice to see that blood and guts has being substituted for bumps in the night but real fear has also been diluted to a few jolts and chills.

The films tag line ‘it’s not your house that’s haunted, it’s your son’ gives you all the plot you need to know. The story concerns the Lambert family who have just moved into a new home. Their son has an accident causing him to go into a coma which the doctors just can’t find a cause for. It appears there are more sinister goings on as his mother, a strong performance by Rose Byrne, witnesses spooky goings on including whispers through a baby monitor and apparitions in her son’s room. So far, so ‘Paranormal Activity.’ Wan uses sound and shadow to create a tense, foreboding atmosphere that caused me to assume my safety position in horror films (squinty eyes and fingers in ears) on several occasions. His clever use of framing means that you’ll be searching your peripherals for any sign of movement and he exploits this well. Unlike recent horror films that pretend to be found footage, this is satisfyingly cinematic and gothic so worth seeing on the biggest screen possible.

All good things must come to an end however and once the plot exposition kicks in and we get into the realms of ‘astral projection’ things get less scary and more silly. Things unfold like a Goose Bumps book as a team of ghost hunters come in to set things straight and the sweats of fear turn to groans of cliché.

It’s a shame that the excellent sound design and startling imagery are tainted by the ultimately ridiculous plot that warranted unintentional laughter as po-faced actors deliver absurd lines with the utter most sincerity. It will make you jump and laugh, but not always for the right reasons.

Verdict

First half frights turn to second half foolishness in an enjoyable but silly horror flick that will leave you comfortable leaving the lights off.

***

Bafta Predictions 2011

Lots to blog on and not enough time.

First a few scores before I catch up and get a chance to review them properly.

True Grit 4/5: Good but surprisingly straight forward for the Coen Brothers. There first truly mainstream film has lots of suspense and warmth but not many quirks.

Rabbit Hole 2/5: Moving but not much else

The Fighter 4/5: Solid if unspectacular sports drama.

Green Hornet 3/5: It has its charm and flaws but is an enjoyable two hours with surprisingly good use of 3D

The Ward 1/5: Awful John Carpenter Horror

Tonight is the Baftas, and here are my predictions for the winnders and in brackets who I think should actually win out of the nominees!

Best Film: THE KING’S SPEECH (What should win: Inception)

Best Actor: COLIN FIRTH (Who should win: JAMES FRANCO, although Ryan Gosling should easily take this but hasn’t been nominated)

Best Actress: NATALIE PORTMAN (Who should win: HAILEE STEINFELD –True Grit)

Best Supporting Actor: GEOFFREY RUSH (Who should win: ANDREW GARFIELD, although Outside chance that the late Pete Pothethwaite may get this in tribute to him)

Best Supporting Actress: AMY ADAMS (Who should win: Again not nominated but Chloe Moretz should get it for her performance in Kick-Ass)

Best Director: INCEPTION - Christopher Nolan (Who should win: Christopher Nolan)

Animated film: TOY STORY 3 (What should win: Toy Story 3)

Original Music: INCEPTION - Hans Zimmer (Who should win: Inception – Hans Zimmer)

Cinematography: True Grit – Roger Deakins (Who should win: Roger Deakins)