To all my movie-loving  mates:
Welcome, or welcome back, to my annual list of Oscar  predictions.  For the initiates, I started doing this a few years back, and the  recipient list has expanded to the point where it now numbers in the hundreds of  thousands.  As always, your feedback is encouraged and appreciated.   
  
As happens every year, I  couldn't see everything I wanted to see.  Here are the list of the ones I  missed, in case any of you saw one of these and are wondering why I wasn't  sufficiently impressed:   
 Kings and Queen
 Black
 Palindromes
 Nine Lives 
 Saraband
 Duma
 King Kong
  
 If any of you have seen these, let me know if  they are worth watching or should be ignored.  And, just one thing about Nine  Lives--I've heard from multiple sources that Robin  Wright Penn gives an all-time great performance in her one scene in this  movie--can anyone confirm or deny that? 
  
 All right, there's not much to be said about  this year's crop other than that about a month ago I almost gave up on it.  I  suppose I'm glad I didn't in the end, but this year's offerings are still  clearly the worst of any year since 2000.  
  
 Nevertheless, here are the rankings and  predictions:
  
 BEST PICTURE
 1 A HISTORY OF VIOLENCE
 2 MATCH POINT
 3 LA MEGLIO GIOVENTU (The Best of  Youth)
 4 THE CONSTANT GARDENER
 5 THE SQUID AND THE WHALE
 6 DEAR FRANKIE
 7 SYRIANA
 8 MUNICH
 9 THE THREE BURIALS OF MELQUIADES  ESTRADA
 10 TRANSAMERICA
 11 PARADISE NOW
 12 GOOD NIGHT, AND GOOD LUCK
 13 GREEN STREET HOOLIGANS
 14 ME AND YOU AND EVERYONE WE  KNOW
 15 2046
 16 WALK THE LINE
 17 BROKEBACK MOUNTAIN
 18 DER UNTERGANG (Downfall)
 19 CAPOTE
 20 MANDERLAY
  
 For a long time, I was disturbed by the  prospect of my favorite movie of the year being directed by David Cronenberg;  perhaps the only thing more disturbing was that the only serious contender to A  HISTORY OF VIOLENCE for the top spot was directed by Woody Allen.  
  
  A HISTORY OF VIOLENCE
 This movie is, more than anything, a  psychological study of the root causes and effects that violence has on the  psyche, and also the role that violence plays in contemporary American society.   In fact, this movie uses violence differently than any movie I've ever  seen--certainly, there's a lot of violence, but it comes in short bits that are  over almost as soon as they begin.  Additionally, I've never seen sex scenes  used the way they are in this movie--each of the scenes (there are two of them)  are decidedly graphic, and also elemental to the development of the plot (for  the record, one of the sex scenes is pretty brutal--I don't think anyone would  classify it was rape, but it's certainly violent).  One problem with this movie  (at least, in the context of writing an email like this) is that you can't say  too much without giving key plot points away, but suffice it to say that this is  unlike any movie I've ever seen, and there's a complexity involved in trying to  make sense of the movie through the different sets of relationships it deals  with (Tom's relationship with Edie; Tom's relationship with Jack; Jack's  relationship with the bully at school; Tom's relationship with his brother;  etc.) that sets it apart from this year's other offerings.  
  
 MATCH POINT
 The biggest problem with this movie, of  course, is that it's directed by Woody Allen but unrecognizable in that regard.   Most of the talk about this movie is dominated by this fact.  When viewed  independent of this, it's a great movie--a complex examination of relationships,  class, economics, and the role that luck plays in determining our lives.   Unfortunately, the strength of the acting is on the bottom--the leads are good,  but not great, and the actors in the supporting  roles are much better--admittedly, I'm not the biggest fan of Jonathan  Rhys Meyers, and I'm not pleased with how Emily Mortimer was used in the  movie--but, as a story, it's quite compelling and I was really impressed with  the ending.  And, another big plus--Woody Allen isn't in the movie, and there  are also no characters that act just like him.  
  
 LA MEGLIO GIOVENTU (The Best of  Youth)
 First things first--for those who are unaware,  this is a 6-hour movie, shown in two parts, that traces the lives of two Italian  brothers over the course of 40 years, and it incorporates historical events into  the narrative.  Certainly, it's unlike anything I've ever seen, and, with very  few exceptions, my emotional investment in the characters was considerably  greater than what I'd have in a 'normal' movie.  The benefit to its great length  is that it doesn't need to hurry through anything, and it's able to fully  develop all of the relationships and the motives of the characters--so, while at  the end, you are interested in wanting to know what happens next, you certainly  don't feel cheated about what you've already seen.  For all the talk about Brokeback Mountain, I found this  to be a much bolder movie--of course, I live in San Francisco, so maybe that  stands to reason.  
  
 THE CONSTANT GARDENER
 This probably isn't as good as CIDADE DE DEUS,  but it's solid and if you can follow the rather complex plot (to be honest, I  thought this plot was a lot more difficult to follow than that of SYRIANA), the  payoff at the end is great.  It's not so much that the plot is complex as much  as it is that it's tough to get a read on the characters, largely because for  the most part they are developing and changing throughout the movie.  In the  end, though, this 'complexity' makes for a much better film.  Full disclosure--I'm  probably going to like any movie that goes after big pharma more than most  would, and this one does--big time.  
  
 THE SQUID AND THE WHALE
  This is a very short movie--only 80  minutes--but it's so full of dialogue and develops so quickly that you'd never  guess it was that short.  The acting of the four principals are all great--and,  really, everyone else is (Baldwin, Paquin, Feiffer), too--and if the movie had a  little more to it I'd have probably ranked it even higher.  Still, I'd assume  it's a pretty accurate representation as to what happens to children of divorce  (particularly since it's based on the director's personal experience), it's done  very well, and it's certainly worth seeing.  It deserves a screenplay Oscar, if  nothing else, but it probably won't get it.  
  
 RE The Nominees  (BROKEBACK MOUNTAIN; CAPOTE;  CRASH; GOOD NIGHT, AND GOOD LUCK; MUNICH)
 In terms of the quality of the movies, this is  the worst year I can recall.  I mean, BROKEBACK MOUNTAIN is fine, but it's  pretty slow for the first 90 minutes, and while the end of the movie is pretty  good, other than the gay angle there's not much to it.  I understand that you  can't replicate it exactly, but replace Jake Gyllenhaal with a woman and no one  would give a shit about this movie.  CAPOTE is fair but its inclusion among the  nominees is comical, even in a year as weak as this one.  MUNICH and GOOD NIGHT,  AND GOOD LUCK are by far the best of the nominees, and neither of them is  anywhere near the best picture of the year.  The less I say about CRASH the better, because amazingly  there are people out there who liked it, and my attitude toward it could easily  offend.  Suffice it to say, about it I read somewhere, 'Welcome to the movie of  the year for the people who say, "Some of my best friends are black.' "  I  couldn't agree more, what a self-serving piece of shit of a movie.   
  
 RE The Winner  The only way BROKEBACK MOUNTAIN  doesn't win is if there's a backlash--and since there's really not a lot going  for it other than its boldness, there could be--and, if that happens, CRASH will  benefit.  The others won't win.  Ang Lee will win Best Director either way,  although my personal preference would be for David Cronenberg, for A HISTORY OF  VIOLENCE.  
  
 BEST ACTOR
 1 Philip Seymour Hoffman CAPOTE
 2 Jeff Daniels THE SQUID AND THE  WHALE
 3 David Strathairn GOOD NIGHT, AND GOOD  LUCK
 4 Viggo Mortenson A HISTORY OF  VIOLENCE
 5 Heath Ledger BROKEBACK MOUNTAIN
 6 Bruno Ganz DER  UNTERGANG (Downfall)
 7 Ralph Fiennes THE CONSTANT  GARDENER
 8 Tony Leung 2046
 9 Tommy Lee Jones THE THREE BURIALS OF  MELQUIADES ESTRADA
 10 Luigi Lo  Cascio LA MEGLIO GIOVENTU (The Best of Youth)
  
 A very deep category this year, so much so  that I would not object if any of the top 8 won the Academy Award.  Even so,  Hoffman is the class of the field, and after several strong performances in the  past (BOOGIE NIGHTS, MAGNOLIA, OWNING MAHOWNY) it looks as though he will  finally be rewarded.  There's not much to say about this performance other than  that he will be a worthy successor to Jamie Foxx for RAY.  I really don't  understand how Daniels didn't get nominated; the reaction to his performance was  universally positive, and with good reason.  Strathairn and Mortenson also were  great and each dominated their movies, and in a different year any of the top  four could be comfortable and deserving winners of the Academy Award.    
  
 RE The Nominees (Hoffman, CAPOTE; Howard,  HUSTLE & FLOW; Ledger, BROKEBACK MOUNTAIN; Phoenix, WALK THE LINE;  Strathairn, GOOD NIGHT, AND GOOD LUCK)
 I didn't see HUSTLE & FLOW, although I did  hear that Terence Howard was quite good in it.  As far as the other nominees,  Joaquin Phoenix wasn't anywhere near convincing enough for me--although  admittedly that is probably more Johnny Cash's fault than Joaquin Phoenix's.   Certainly his performance pales in comparison to the great performance given by  Jamie Foxx last year in RAY.  As far as the other nominees, they are all great  performances and any of them would be worthy winners.  
  
 RE The Winner  Hoffman, easily.
  
 BEST ACTRESS
 1 Reese Witherspoon WALK THE LINE
 2 Felicity Huffman TRANSAMERICA
 3 Emily Mortimer DEAR FRANKIE
 4 Laura Linney THE SQUID AND THE  WHALE
 5 Juliette Binoche CACHE (Hidden)
 6 Charlize Theron NORTH COUNTRY
 7 Embeth Davidtz JUNEBUG
 8 Radha Mitchell MELINDA AND  MELINDA
 9 Q'Orianka Kilcher THE NEW WORLD
 10 Scarlett Johansson MATCH POINT
  
 This category is, in my estimation, quite  top-heavy.  The top 5 are all great, and any of them would be a deserving  winner.  After that, there's a marked drop-off in the quality of the  performances.  I give the edge to Witherspoon, largely because I think Huffman's  performance is getting a little too much hype.  I could understand the hype if  the performance had been given by a man (doing something similar to what Hilary  Swank did in BOYS DON'T CRY), but as it is, she just puts on an affected voice  and touches her boobies a lot.  This isn't to say she isn't good--keep in mind  that I have her listed 2nd here--but she's no match for Witherspoon, who was  quite convincing as June Carter, as opposed to Joaquin Phoenix, who just didn't  measure up as Johnny Cash.  She did it all--funny, dramatic, happy, sad--and,  she sang as well.  A solid all-around performance that in my mind was tough to  top.  I'm also pissed that Mortimer didn't get a nomination for DEAR FRANKIE  (for the record, I think her considerable acting talents were underutilized in  MATCH POINT).  She's one of the best actresses out there, and after not getting  nominated for LOVELY AND AMAZING and now this, I'm starting to get pissed off.   
  
 RE The Nominees  (Dench, MRS. HENDERSON  PRESENTS; Huffman, TRANSAMERICA; Knightley, PRIDE AND PREJUDICE; Theron, NORTH  COUNTRY; Witherspoon, WALK THE LINE)
 I didn't see PRIDE AND PREJUDICE, which is  probably fine because by all accounts the nomination is not really deserved.  I  also didn't see MRS. HENDERSON PRESENTS, which is also probably fine because  Judi Dench is going to be nominated for everything she's in.  Theron is all  right, but being such a recent winner she's probably got very little chance  here.  Fortunately, the two best performances are among the nominees, and either  would be a deserving winner.  
  
 RE The Winner   Witherspoon...Huffman...Witherspoon...Huffman...I'll go with Reese, although  apparently she's a bit of a wanker, and that could cost her here, which would  be unfortunate because I think she deserves it.  If any of the others win, I'll  shoot myself in the face.  
  
 BEST SUPPORTING ACTOR
 1 Jesse Eisenberg THE SQUID AND THE  WHALE
 2 Alessio Boni LA  MEGLIO GIOVENTU (The Best of Youth)
 3 Jack McElhone DEAR FRANKIE
 4 George Clooney SYRIANA
 5 Paul Giamatti CINDERELLA MAN
 6 Jake Gyllenhaal BROKEBACK  MOUNTAIN
 7 Kevin Zegers TRANSAMERICA
 8 Gerard Butler DEAR FRANKIE
 9 Ed Harris A HISTORY OF VIOLENCE
 10 Owen Kline THE SQUID AND THE  WHALE
  
 Probably the strongest category this year, and  all of these listed are strong performances.  A good year for young actors, as 4  of them are in my Top 10.  Eisenberg's performance is particularly impressive;  in many ways, he's the central character in THE SQUID AND THE WHALE, because  he's the one who gathers all of the information regarding his parents and their  divorce, and the movie is really about how all of the information he gathers  manifests itself in his attitude toward each of them, and his relationships with  others.  He's a bit of an ass and pretty unlikeable but that is something that  works in his favor here.  Boni's really good as well--and, for the first half of  the movie, he's got the larger role of the two brothers in LA MEGLIO GIOVENTU (The Best of Youth)--and there's not  really much to separate the top two.  To some extent, the character's complexity  works against him, because he's difficult to assess on a first viewing--and if I  watch it a second time, it probably won't be for a while, due to its length.   I'd give those two a clear edge over the rest of the performances.   
  
 RE The Nominees  (Clooney, SYRIANA; Dillon,  CRASH; Giamatti, CINDERELLA MAN; Gyllenhaal, BROKEBACK MOUNTAIN; Hurt, A HISTORY  OF VIOLENCE)
 A decent job here, even with the best  performances going unrewarded.  And, as always happens, they nominated the wrong  person from a film--certainly, Ed Harris was much more convincing, and had a  much larger role than William Hurt in A HISTORY OF VIOLENCE.  To be honest, I  thought William Hurt was the worst thing about A HISTORY OF VIOLENCE--which is  not so much an indictment of his performance (which was fine) as it is a  testament to all of the other actors, who all played their roles with a subtlety  that Hurt's performance lacked.  Suffice it to say, Dillon did not do it for me,  and I thought any number of other actors in the movie (Pena and Phillippe, most  notably) were markedly better.  Clooney, Giamatti, and Gyllenhaal were all fine,  and although they have all had better performances recently that were  unrecognized (Clooney--O BROTHER, WHERE ART THOU?; Giamatti--AMERICAN SPLENDOR;  Gyllenhaal--DONNIE DARKO), I'll not be too upset if any of them win.   
  
 RE The Winner   There's little doubt that this  category has the most potential winners since all of the nominees, with the  exception of Hurt, could win it.  I'll guess that it'll come down to Giamatti  and Clooney, and Giamatti will probably win because he wasn't even nominated for  AMERICAN SPLENDOR and SIDEWAYS and voters might want to take advantage of this  opportunity to right past wrongs.  
  
 BEST SUPPORTING ACTRESS
 1 Rachel Weisz THE CONSTANT  GARDENER
 2 Amy Adams JUNEBUG
 3 Michelle Williams BROKEBACK  MOUNTAIN
 4 Ginnifer Goodwin WALK THE LINE
 5 Jasmine Trinca LA MEGLIO GIOVENTU (The Best of  Youth)
 6 Maya Sansa LA  MEGLIO GIOVENTU (The Best of Youth)
 7 Melissa Leo THE THREE BURIALS OF MELQUIADES  ESTRADA
 8 Penelope Wilton MATCH POINT
 9 Valentina de Angelis OFF THE  MAP
 10 Fionnula  Flanagan TRANSAMERICA
  
 This is a strange category this year.  I'd  throw any of the top 6 performances in a pot, and draw them out, and be fine  with the order--they are all that good.  That said, after the top 6 there aren't  too many great performances--or, at least, none that are deserving of an Academy  Award.  I give the edge to Weisz, because she's got the largest role (when  making my preliminary list, I had her listed in the Best Actress category, not  Best Supporting Actress), and, she's the fulcrum of a pretty good movie.  Adams  holds JUNEBUG together, certainly, but as a movie it's far inferior to THE  CONSTANT GARDENER--which isn't to say she isn't great (she is), but her  performance can't measure up to Weisz's.  Williams is also great--when I saw  BROKEBACK MOUNTAIN, she was the person whose performance impressed me most--but  it's clearly a supporting role, and she's clearly a tertiary character.  I'm  disappointed that Goodwin didn't get nominated, she was totally solid and  convincing--but I guess WALK THE LINE got its acting nominations in the other  categories, and it was only going to get so many spots.  Neither of the Italian  actresses was ever going to get a nomination, but they were both great, in  addition to both being smoking hot--always good when you are watching a 6-hour  movie.  
  
 RE The Nominees  (Adams, JUNEBUG; Keener,  CAPOTE; McDormand, NORTH COUNTRY; Weisz, THE CONSTANT GARDENER; Williams,  BROKEBACK MOUNTAIN)
 As noted above, the top three performances  were nominated, so I'm quite pleased.  Keener and McDormand are fine, but not  really Oscar-worthy, in my opinion.  I think Keener was probably better in THE  40-YEAR OLD VIRGIN than she was in CAPOTE, but she was never likely to be  nominated for that.  
  
 RE The Winner  Adams has a small shot, because  she is getting a lot of hype for her excellent performance.  In the end, though,  it will probably come down to Weisz and Williams, and I'd guess that Weisz will  win because BROKEBACK MOUNTAIN will certainly be rewarded elsewhere, whereas THE  CONSTANT GARDENER will not.  And that's not such a bad thing, really.   
  
 The Academy Awards this year are this Sunday,  March 5th.  Enjoy!