My 10 Favourite Directors of 2011.

2011, you say? That thing that happened over seven months ago? Sorry, guys in the future, but my mind has just clicked out of 2011 mode. I've seen all of the '2011' films that I'd wanted to see (apart from Carnage, which doesn't hit for another month, unfortunately), so I figured it was time to give my full, official 2011 retrospective. Why didn't I just do that at the start of the year and leave all of the 2011 films released in 2012 to be 2012 films? Because that's dumb. I didn't really want to be talking about films like War Horse, The Girl with the Dragon Tattoo, The Artist etc etc etc when it came time to make my 2012 list. And it's better late than never, am I right?

Tonight, I'll be looking at my favourite directors of the year. Tomorrow will be reserved for actresses, Saturday for actors, and Sunday for my favourite films of 2011. So set those clocks back and bear with me: I know I'm behind, but you try live in New Zealand!

Honourable mentions for my favourite directors of the year: Michel Hazanavicius - The Artist, Pedro Almodovar - The Skin I Live In, Martin Scorsese - Hugo, Jeff Nichols - Take Shelter, Sean Durkin - Martha Marcy May Marlene, George Clooney - The Ides of March, Bennett Miller - Moneyball, Mike Mills - Beginners, Cary Joji Fukunaga - Jane Eyre, Asghar Farhadi - A Separation, Neil Burger - Limitless.

10. Brad Bird - Mission Impossible: Ghost Protocol

This may strike some as an odd choice for a list that is filled with a whole lot of independent/arthouse films, but hear me out. Mission Impossible: Ghost Protocol was definitely one of the best blockbusters to come out last year (and to think I nearly missed out on it because I couldn't be bothered watching the first three...and I didn't even need to), mainly because it has some kick-ass action set-pieces. I mean, come on, that scene way up on the Burj Khalifa Tower in Dubai? That had me scared like I've never been scared before. There's also an extremely well choreographed scene which involves a lot of cars. And not to mention, an action sequence taking place during a sandstorm. It is a heavy load to carry in order to ensure that these insane sequences look slick, but Brad Bird - in his live-action directorial debut - manages to take it all in his stride and make a rousing blockbuster.
Key scene: The Burj Khalifa Tower scene was definitely one of the most memorable of the year, but the scene involving all of the cars was pretty darn well choreographed.

Musings on Cate Blanchett in The Curious Case of Benjamin Button

David Fincher has made many movies in his time. The majority of them are dark, serial killer themed films, like Se7en, The Girl with the Dragon Tattoo and Zodiac. He's made a movie about Facebook. He's also made a romantic drama about a man who ages backwards. If there's anything out of the ordinary in Fincher's filmography, The Curious Case of Benjamin Button is it. Many people tend to overlook this film which doesn't go as dark as the rest of what he has to offer, but this film, which was the first work of Fincher's that I ever saw, is one of my favourites of all-time.

The Curious Case of Benjamin Button is a film that I'd like to think of as a 'future classic'. In it's day, many dismissed it as being too long (and at nearly three hours, it is a bit of a stretch for the attention deprived people of today), a piece of Oscar bait (it certainly gives off that impression) or just plain boring. The thing about Benjamin Button is that it isn't like many of the other films in recent memory. Barely anyone does 'life' movies like this anymore, mainly because of today's attention deprived market who don't make a lot of room to see someone live out their life in a movie. These glossy, 'warm' looking period pieces are also in short supply, as anything set around the 1930's/1940's tends to be focused on war or gangsters. The film just feels like it could have been from another time, but I can't quite put my finger on what time that might be. Yes, it could indeed be a film from the past, but it also feels groomed for the future. Which is what makes it such a strange, yet wonderful film.

Evil Shall with Evil be Expelled.

Film: The Girl with the Dragon Tattoo
Year: 2011
Director: David Fincher
Written by: Steve Zallian
Starring: Rooney Mara, Daniel Craig, Christopher Plummer, Stellan Skarsgård, Robin Wright, Joely Richardson, Yorick van Wageningen, Goran Visnjic, Steven Berkoff, Geraldine James. 
Running time: 158 min.
This is out in New Zealand cinemas on January 26th.

It is a tough life being a remake. Moreso if it is a Hollywood remake. There are the endless comparisons to the original. Then there are the differences between the two: if it is too different, people hate it; if it is shot for shot, people also hate it. And if Hollywood remakes a foreign film, then the makers get slammed for encouraging the lazy people who can’t be bothered reading subtitles. Yes, usually remakes don’t fare too well, but there is the occasional exception. David Fincher’s The Girl with the Dragon Tattoo is one such example of that. However, there is an exception to that exception: Fincher has made it very clear that his version isn’t a remake of the 2009 Swedish hit. Instead, it is an adaptation of Stieg Larsson’s wildly popular posthumous novel. A novel which has sold more copies than The Very Hungry Caterpillar. When you put things into perspective, a lot of people would like to adapt this book, but I’m glad that Fincher was the one to do it.

52 Things I Love About The Social Network...

This day an entire year ago, I watched The Social Network for the first time. You remember how I did this list to go with my one year anniversary between Inception and I? Well it's just the cool thing to do when I love a movie and we've been together for a whole year. The Social Network is a film which perhaps many of you have forgotten about now, after all of the awards season mish-mash was over and we all had to accept that The King's Speech won because it was pure Oscar bait. But for me, The Social Network is a film that I saw twice in cinemas, then watched three times in one week as it came out on DVD, and have watched eight times all up. Basically, it's a film I wish I made, and I'm sure that I could find more than 52 things that I love about it, but I'm limiting myself here!

So here's my 52 things I love about The Social Network...one for every week that has passed since that glorious first viewing (not in any order):

1. That amazing first scene. Music to my ears.

2. Rooney Mara's small, but outstanding performance.

3. The many hoodies Mark Zuckerberg wears.

4. Oh, and let's not forget the lovely Adidas flip flops.

5. Watching Mark run around during the credits before finally making it to his room.

6. The song 'In Motion' backing the wonderful editing between the party and Mark making 'FaceMash'.

7. Farm animals. They are referenced throughout the film more than one would think.

8. Seeing Andrew Garfield rock up. That dude's got swag.

9. Everything that Eduardo Saverin wears. He dresses extremely well.

10. Oh, and let's not forget Andrew Garfield's performance. I'm still kinda pissed that he didn't get an Oscar nomination.

11. Jesse Eisenberg's Oscar nominated performance is revolutionary. Who knew he had so much narcissism and douchebaggery in him?

12. "You're going to go through life thinking that girls don't like you because you're a nerd. And I want you to know, from the bottom of my heart, that that won't be true. It'll be because you're an asshole." - I hope that one day I'm given the opportunity to use this line.

13. The sneaky Fight Club reference in the film. Tyler Durden makes an appearance in the film - you've just gotta keep your eyes peeled!

14. David Fincher directed this. And we all know that David Fincher is awesomeness.

15. Give David Fincher an Aaron Sorkin script and that's too much awesomeness for one Stevee to handle all at once.

16. Armie Hammer 2x. Because you know what's better than having one perfectly gorgeous Armie Hammer? Having two of them.

17. "I'm 6'5", 220 and there's two of me."

18. I never feel like Max Minghella ever gets enough credit for his performance...or anything.

19. The Caribbean Night. That looked like a good party.

20. Eduardo's dance. Always has me in fits of laughter.

21. How happy Eduardo is after he and Christy Lee, along with Mark and Alice (in a separate cubicle) do R-rated stuff in the bathrooms.

22. ...and the Josh Pence cameo that follows.

23. Being able to tell the difference between the 'Winklevii'.

24. The song 'A Familiar Taste'. It's so dirty.

25. Also, the song 'Intriguing Possibilities'. It's the best song to listen to when you're typing.

26. Mark's 'praying' after The Facebook goes live. 

27. "I think if your clients want to sit on my shoulders and call themselves tall, they have the right to give it a try - but there's no requirement that I enjoy sitting here listening to people lie. You have part of my attention - you have the minimum amount. The rest of my attention is back at the offices of Facebook, where my colleagues and I are doing things that no one in this room, including and especially your clients, are intellectually or creatively capable of doing.
Did I adequately answer your condescending question?"

28. Forced cannibalism. That poor chicken.

29. "Don't the fish eat the other fish?! The marlins and the trout!"

30. I guess I should mention how good Justin Timberlake is in this movie. I still can't take him seriously, though.

31. The subtle Natalie Portman reference. She was the movie star on campus.

32. Aaron Sorkin's cameo in the film.

33. The song 'Painted Sun in Abstract' - the soundtrack to my summer.

34. That guy who didn't know that the guest speaker was Bill Gates.

35. Mark checking the math - $18,000+$1,000 does indeed equal $19,000.

36. How I wrote an essay on this for one of my assessments this year, and I spent a whole paragraph talking about the colours used in this film. They really are magical.

37. The Sean-a-thon. Everything from that swanky restaurant, to the appletinis, to 'Magnetic' playing in the background. Oh, and "A million dollars isn't cool. You know what's cool?"
"You?"
"A billion dollars. And that shut everybody up."

38. The little punch Mark gives Eduardo when he comes to California from New York. So precious.

39. The club scene. The lighting, the story about Victoria's Secret creator that Sean tells, and 'The Sound of Violence'. Brilliance on so many levels.

40. The "I'm CEO, bitch" cards. I'm gonna get me some of those one day.

41. The Henley sequence. So well done. Only David Fincher and double Armie Hammer's could make rowing look appealing to me.

42. MARK'S FACE!

43. The Winklevii meeting with royalty. Just brutal.

44. The way Eduardo smashes Mark's laptop. "How about now? You still wired in?"

45. "Sorry! My Prada's at the cleaners! Along with my hoodie and my 'fuck you' flip-flops, you pretentious douchebag!" Oh, how I've always wanted to use this line.

46. Gretchen: What was Mr. Zuckerberg's ownership share diluted down to?
Eduardo Saverin: It wasn't.
Gretchen: What was Dustin Moskovitz's ownership share diluted down to?
Eduardo Saverin: It wasn't.
Gretchen: What was Sean Parker's ownership share diluted down to?
Eduardo Saverin: It wasn't.
Gretchen: What was Peter Thiel's ownership share diluted down to?
Eduardo Saverin: It wasn't.
Gretchen: And what was your ownership share diluted down to?
Eduardo Saverin: .03 percent.
Me: :''''''(

47. "You better lawyer up asshole, because I'm not coming back for 30%, I'm coming back for EVERYTHING." I shamefully admit that I use this line every day in the most inappropriate situations.

48. When Sean gets caught with the drugs, and 'The Gentle Hum of Anxiety' plays in the background. That was the soundtrack to my March, for some reason.

49. The special features included with the 2-disc edition are the best.

50. "You're not an asshole, Mark, you're just trying so hard to be."

51. The film's end. Mark sits there, staring at his computer, waiting for Erica to accept his friend request, and 'Baby, You're a Rich Man' by The Beatles starts playing. Perfection.

52. That nearly every single line in this movie is quote material. Which means it's one hell of a film. I wish I had made it.

So there's my 52 reasons why I love what is possibly one of the best movies of my generation. Why do you love it?

Rooney Mara...Can She Be The Girl with the Dragon Tattoo?

This morning I woke up to the news that the teaser trailer for David Fincher's version of The Girl with the Dragon Tattoo had been leaked online, and I watched it in amazement. It looks as bad-ass as ever, even if the quality is a bit shonky because the trailer hasn't actually been released online. I must have watched the trailer about seven times today. There's just something about it which makes me very excited. But of course, any film made by David Fincher has the power to make me bloody excited.

Of course, the original Swedish version was a very good movie. The performances were all pitch perfect, the direction was tense and it was a very clever yet disturbing film. I actually preferred the film version to the book (mind you, I was rushed through that book and I have major troubles with reading). However, the biggest key to that films success was the amazing performance by Noomi Rapace. She was something new; an utterly fearless performance who was willing to put herself through just about anything to play the interesting role of Lisbeth Salander, a tortured, damaged girl who is also brave and intelligent. Noomi Rapace was so widely loved for her performances in the trilogy that many campaigned for her to reprise her role in the American version. She turned that opportunity down, and so Fincher went on a campaign to find his Lisbeth Salander, with early front-runners being young actresses like Carey Mulligan and Kristen Stewart, but yet, Fincher hadn't found his 'girl' yet.

Enter Rooney Mara. She had worked for Fincher before in The Social Network, but that remains as her only widely known flick. Sure, she was in A Nightmare on Elm Street, another remake, but it would be better if we just forget about that one, and also Youth in Revolt, which isn't widely regarded around here. Other than that, Mara was just as likely as any of the other candidates, but many disregarded her as she didn't seem like a true candidate because of her select filmography. However, it's like when David O. Selznick picked Vivien Leigh for the role of Scarlett O'Hara, he was taking a risk, and it paid off in the long run. We're yet to see if Fincher's risk will be worth it, but I think Rooney Mara will be beyond excellent in this film.

Now Lisbeth Salander is a role which isn't for the light-hearted. First of all, whoever is playing her must be prepared to put their appearance on the line. The hair has to go, and the short, uneven cut has to be died jet black. Piercings have to come in, wherever possible, especially around the face area. An already thin frame has to become even thinner, to the point that a scarecrow would be a similar figure. And you could probably forget about wearing pretty clothes. Black is the only likely candidate in a closet full of Salander clothes, and the accessories aren't exactly inviting either. Oh, and of course, as the title suggests Lisbeth has tattoos, a huge one of a dragon sprawled across her back, to be exact.

Then comes all of Lisbeth's problems. She has some less-than-gentle people surrounding her, including a dodgy guardian who believes that no deed goes unpunished. She distances herself as far away from the rest of the world as she can, hence the odd clothing and such. But she simply doesn't give a crap, because she won't change for anybody. She sleeps with whom she wants, when she wants, and won't give up without a fight. And boy, she can fight. She fights for herself. In fact, she is determined to do everything herself. If someone ticks her off, she'll get revenge, herself. Lisbeth is as tough as ever on the outside and the inside, and she's certainly not stupid, as she has more intelligence than she knows what to do with.

Lisbeth is undeniably one of the greatest female characters to pop up over the past few years, which is why she is such a coveted role. So, of course, the person who took the role had to be more than capable of carrying a film. When Rooney Mara was announced as the next girl with the dragon tattoo, people were sceptical over the choice. Was this because they felt that no-one but Noomi Rapace could fill the role? Or was it because they felt that Mara was too inexperienced to be handed a role as big and complex as this one?

Well, here here. First of all, at this point in time, I have trouble seeing anyone but Rapace in the role, because with those three films, she made Lisbeth entirely her own. While Mara is a very delicate and pretty looking girl, I think we can all see from the shoot she did a long time ago in Lisbeth mode that she has made a stunning transformation. She looks tough, less like a woman and as bad-ass as ever. The only thing that pisses me off is the fact that she doesn't have that beautiful long hair anymore, but sacrifices, right?

As for the inexperience problem, I feel as though if someone like Natalie Portman starred in it, it wouldn't be as surprising. Portman has starred in many films, and has built up a persona of being an innocent, sweet girl, which is far from what is required here. We all know what to expect from someone like her, and while the role would provide a great showcase for talent, that's not what makes this role special. What makes it special is someone who people barely even know to come in and have their own take on the character. Because, who says that someone inexperienced doesn't have talent? Sure, people get better as their careers go on, but people are born with talent. What they choose to do with that talent is entirely up to them. I thought Mara's performance in The Social Network was actually the best of the whole film, and if she can blow me away in three scenes, then what can she do with a whole movie? She'll be bad-ass, no matter what.

So basically, I think Rooney Mara's casting in this film is a stroke of genius. People don't really know what to expect from her...will she be a carbon copy of Noomi Rapace or bring the role into her own? But obviously, Mara is smart enough to know a good thing when she sees it, and I'm sure she'll do anything within her power to be awesome. Having the midas-like hands of David Fincher helping her along will only make it better.

So what do you think? Do you think Rooney Mara is a good fit for the role, or would you have preferred someone else? Also, are you looking forward to the remake?

Top 10 Favourite (modern/classic) Directors

You remember how like, a month a go, I listed my favourite modern actors and actresses, along with my faaourite classic ones? I did promise at the end of the classic one that I'd list my favourite directors. But the Classic Movie Marathon got in the way and last weekend I completely forgot about it, so here it is...my favourite directors from any era:

Honourable Mentions: Martin Scorsese, Elia Kazan, John Hughes, Sam Mendes, Edgar Wright, Robert Zemeckis, Billy Wilder, Howard Hawks, Roman Polanski, Jane Campion, Peter Jackson, Kathryn Bigelow, Judd Apatow, Matthew Vaughn, Sidney Lumet, Greg Mottola, Duncan Jones, Rian Johnson.

10. Danny Boyle (on the set of 127 Hours)

When I came to the end of making my 100 Favourite Films list I got really angry because I missed a lot of films (I need to extend the list to 150), but I got especially angry over the fact that no Danny Boyle movies made the list. Now, that is nothing against him - or his films - because every work I've seen of his is absolutely brilliant. It's just one of those things when it comes to making a list like that. Danny Boyle's films have been both revolutionary and visually stunning, with the cool editing techniques he uses, the high saturation he uses with the camera and the always awesome soundtrack music he chooses. What he can do with a film is absolutely amazing. And pretty much half of the music I listen to comes from a Danny Boyle movie, so he gets extra props there.
Favourite film: 28 Days Later...

9. Jason Reitman (on the set of Up in the Air)

I know that Jason Reitman has only made three films. But he is one of those people who just became great after their first feature. I believe that the guy just continues to get better and better, even though he is so consistently great. His films, Thank You For Smoking, Juno and Up in the Air have all been tremendously well-received, which is exactly what he deserves. Add in the fact that he already has 4 Oscar nominations to his name (three for Up in the Air - Picture, Screenplay and Direction, one for Direction in Juno), I'd say that Reitman is well past the 'up-and-coming' stage...and I'd hate to have him let me down.
Favourite film: Juno

8. Frank Capra (left, on set of It Happened One Night)

Frank Capra films are the best. For anyone who is slightly snarky towards those classic films, I'd definitely put forward Capra movies to them first, because his movies are always so happy, funny and all-round enjoyable fares. It Happened One Night and It's a Wonderful Life, particularly, are two of my favourite films. The former because it is probably the funniest film I have ever seen and the latter because it's probably the most beautiful film I have ever seen. Plus, I never feel as uplifted as I do after I've seen a Capra movie.
Favourite film: It Happened One Night

7. Darren Aronofsky (on the set of The Wrestler)

As some may know, I'm a huge fan of lots of editing and 'different' camera techniques. And no-oe gives me that more than Darren Aronofsky. I'm pretty new to being a fan of him, since I only really started taking notice of him after I saw Black Swan and then trhe big life fuck-up Requiem for a Dream a mere two days later. I've been meaning to rewatch The Wrestler since I bought it like three months ago, but I still haven't gotten around to it. I see Aronofsky's work as an art form; he and his cinematographer Matthew Libatique like creating films that have so many different fragments that they all spin out to be a beautiful masterpiece. And I also like how the first word I say at the end of any Aronofsky movie is "fuck". I mean that in the best possible way.
Favourite film: Requiem for a Dream

6. George Cukor (right, on the set of The Philadelphia Story)

 First thing you should know about George Cukor: he was originally the director for Gone with the Wind. That's before he got into several arguements with David O. Selznick and Clark Gable didn't like his very feminine approach to the movie. One of the scenes he shot that remained in the film was the scene where Rhett and Scarlett have their first dance together. Here is a morsel of the considerable talent Cukor had: he could direct a dancing sequence unlike any other. Cukor was known as a ladies director, since he often directed movies with very strong female characters (including The Women, a film which doesn't have one man in the cast!). The people who direct chick flicks today need to take a note or two off him. Oh, and by the way, he directed 20 different actors to an Oscar nomination...good track record, huh?
Favourite film: Gone with the Wind...but since he was uncredited for that, I'll choose The Philadelphia Story.

5. Baz Luhrmann (on the set of Australia)

I'm quite the Baz Luhrmann obsessor. I own each of his movies, Strictly Ballroom, Romeo + Juliet, and Moulin Rouge! being the special edition 'red curtain trilogy' copies, and I also own Australia. I've seen each of his films at least three times and I love them all to little bits. I'm actually considering going to stalk the set of The Great Gatsby because I am so excited for that. I've spent too long without a new Luhrmann movie. His movies are great, lavish spectacles, with some great visuals and they always bring a tear to my eye. The fact that the guy is also very musically talented just adds so much pizazz to his films. I need a new Luhrmann film, and I need one now.
Favourite film: Moulin Rouge!

4. Alfred Hitchcock (on the set of The Man Who Knew Too Much)

 Does this man really need that much of an introduction? I know it. We all know it. Alfred Hitchcock was the master of suspense, and he is probably the greatest director who ever lived. His films are all fantastic, and probably twice as scary as they would have been because he had something to do with it. A lot of his films were instant 'must haves' on my 100 favourite films...every collaboration between he and his favourite blonde Grace Kelly got a spot, along with a few others. Psycho is one film which I will never forget. Thank you, Mum, for introducing me to him at the tender age of 11. I simply love his films.
Favourite film: Psycho

3. David Fincher (on the set of The Curious Case of Benjamin Button)

When making my Top 100, I was surprised at the big mound of David Fincher films got into the very top part of my list. You can't dismiss Fight Club. That movie pretty much changed my life. The Curious Case of Benjamin Button has always been a favourite of mine, even though I still can't get over the act that Fincher directed it. And The Social Network. Y'all know how I feel about that one. I don't care what anyone says, that is one of the best movies I have ever seen and I could watch it 100 times in a row if I wanted to. His other films Zodiac and Se7en are both masterpieces. I just wish, that in a perfect world, I would have as much talent as Fincher. He just never stops being fucking awesome, you know?
Favourite film: The Social Network

2. Quentin Tarantino (on the set of Inglourious Basterds)

You know what I like most? When a director directs his own stuff. That's why I absolutely love Quentin Tarantino. Most of what he has directed has come from his own brain, and it takes skill to make that so effing awesome. I live for Tarantino films. When I find out he is making a new one, my stomach does a million backflips. His films are just totally boss, alright? I can't say anything more than that otherwise I might come across as a little crazy.
Favourite film: Inglourious Basterds

1. Christopher Nolan (on the set of Inception)


Wholey shit. What a surprise. I know that no one saw that coming. You know what (in fact, you probably already know this)? Every time I see a picture of Christopher Nolan, I feel so inspired. He's just a normal man, who lives a normal life, but he just so happens to direct some of the greatest modern films. And yet, he's just so cool with it. I mean, The Dark Knight went straight to #1 on the IMDb Top 250 within two days of it's release, and he's just like "cool, people like my movie, onto the next one..." I just happen to think that he is a God-like figure...and probably the greatest idol I have ever had.
Favourite film: Memento

Who are your favourite directors?

DVD--The Social Network

or: 'The Facebook Movie'

One word to sum it up: Fast

Since 2004 the world has slowly been introduced to a different world filled with ‘likes’, ‘pokes’ and having more friends than everyone else. Whether you like to admit it or not, Facebook has taken over the world as we know it. So this was an ample opportunity for Aaron Sorkin to write an awesome screenplay and have famed director of murder-themed films David Fincher helm a film about the making of Facebook. When I first heard about this project I was a little confused as to why they would do this, but I, like many people, was completely blown away by what The Social Network achieved. This is highly intelligent drama at its absolute best, and really is the ‘film of our generation’.

Facebook is a website known for connecting people via technology and claims to ‘bring people together’. However, its creator, Mark Zuckerberg (played by Jesse Eisenberg), experienced the opposite after he created this phenomenon. The Social Network takes a look at the early days of Facebook and the two lawsuits that came with it: his best friend Eduardo (Andrew Garfield) suing him for trying to get him out of his company; and Divya Narendra (Max Minghella) and Tyler and Cameron Winklevoss (Armie Hammer) suing him for ‘stealing their idea’.

This movie could have been made about a guy making a chair and it would still be wildly intriguing. The Facebook factor just adds novelty. The story it tells is one of friendship, betrayal, greed, power and the inability to connect with anyone. When we first meet Zuckerberg, jabbering away at his girlfriend Erica (Rooney Mara, the next ‘Girl with the Dragon Tattoo’), we see a man completely devoid of emotion and simply unaware of what it means to be socially ‘with it’. While this scene sets up his cold character, the way this one opening scene is written by Aaron Sorkin is so brilliant. I swear every word in the English language was stuck into that one scene, thus setting the tone for the rest of the movie.

The Social Network is a perfectly made film. The Oscar winning script is perfect in the way that it has all the trimmings to make a fine thriller. The Oscar winning music by Nine Inch Nails front man Trent Reznor and Atticus Ross is totally modern and the way it zips across each scene is perfect. The Oscar nominated (and unfairly robbed) direction by David Fincher combines techniques he used in his past films Zodiac and Fight Club to make this an intense drama. While this isn’t the type of film he usually makes, he proves he is one of the best directors working at the moment. The Social Network is exactly like Fight Club without Marla Singer. And it’s beautiful.

Perhaps the best asset within The Social Network is the performances. Jesse Eisenberg (Zombieland), known for playing awkward and sweet geeks, makes a complete transformation as narcissistic and cold Zuckerberg. Even though his Oscar nominated performance is beyond amazing, he’s nothing without his friendship with Eduardo Saverin. Andrew Garfield (the next Spider-man) serves as the emotional joint of the film, and his final confrontation with Mark shows exactly how talented Garfield is. You heard it here first: he is the star of the future. Justin Timberlake does a damn good performance as Sean Parker; Disney starlet Brenda Song is crazy as Eduardo’s girlfriend; Armie Hammer does a brilliant job of playing a set of twins; and Rooney Mara, in three scenes, blew me away.

Unfortunately, The Social Network was unfairly and inexplicably robbed of Best Picture by The King’s Speech. I will always regard this movie as the better one of the two. I simply can’t speak any higher of The Social Network. It’s a frequently funny, enjoyable and fresh piece of cinema that ‘captures the spirit of the times’. Believe it.

THE VERDICT: Should have won Best Picture. Obviously, too modern for the voters.

What I got:

AAN: And thus, my life goes back to normal again (Oscar talk)

This morning I said "By the end of the day I will either hate The King's Speech or start liking it again." Now the end of the day has come, I have gotten over my hating and started remembering small parts of it which were Oscar worthy. Unfortunately, I still can't see how it won. But it had it's time to shine, and it's no skin off my teeth.

I got 16 out of 21 predictions right. My last period at school was filled with happiness whenever I saw Inception winning anything and a huge gasp which stopped the whole class when I found that Melissa Leo won. Now my life is going back to normal, these films aren't feeling as relevant as they used to and I'm just waiting for the next lot of awards...and Christopher Nolan's upcoming win for The Dark Knight Rises (early prediction, bite me).

Anyway, thoughts on the awards given out:

-Best Picture went to The King's Speech. Thought having that movie be the most dominant in that little montage was a dead giveaway. While I'm not the only one bitter, and I still commend their achievements, it was so 'safe'. And there were so many films better than that one in the race. I still think, at the bottom of my heart, that Inception should have been the one that won. But of course, the nature of that film stopped it. The nature of The Social Network and it's youngness stopped it. While I'm happy for The King's Speech, this award simply should have gone to someone else.

-Despite the fact that he got the award for The King's Speech, I will forever think that the Oscar Colin Firth got this year was really for his performance in A Single Man. Bravo to that man. Can't say I didn't see it coming, though.

-Thank goodness Natalie Portman won Best Actress. Phenomenal work, phenomenal actress. God bless her.

-Unfortunately, Jesus Bale didn't trim his beard for his big moment. But how the fuck is this the first time he has gotten a win, let alone a nomination?! All I know is that I'm glad that he's finally got what he deserves.
-Okay so I knew Melissa Leo was going to win, so it wasn't much of a surprise. I suppose I was just angry that Jacki Weaver didn't win. Or Amy Adams. Or Hailee Steinfeld. Or Helena Bonham Carter. So much talent here, not enough Oscar to go around!

-Jeez, I nearly cried when Tom Hooper won Best Director. Academy, first you snub Christopher 'God' Nolan, then you give away David Fincher's Oscar to someone who didn't really need it yet in the first place. Yes, Tom Hooper has a lot of talent, but nothing compared to the talent and repertoire David Fincher has built up for himself. Oh well, the Oscars love new blood, and that is a damn fine achievement for Hooper. Damn fine.
-JESUS CHRIST OSCAR WHY DID YOU NOT GIVE THE AWARD FOR 'BEST ORIGINAL SCREENPLAY' TO THE MOST ORIGINAL OUT OF THE LOT OF THEM?! Oh right, coz you hate Christopher Nolan. I still don't get how David Seidler's The King's Speech screenplay is original, since I saw some books called 'The King's Speech' and those words 'Now a major motion picture' floating around, but meh, it was obvious that they were going to go with the safe choice. And now everyone in NZ is going crazy over this win coz Seidler wants to come back to NZ and go tramping. Yeah thats great...we can move on now.
-Adapted Screenplay to The Social Network. Aaron Sorkin, you are still so amazing. If only your fucking awesome film could have won more, y'know?
-Best Animated Feature to Toy Story 3. That's how it should be.
-Best Foreign Film to In a Better World. I predicted it even though I haven't seen it!
-Same case for Best Doc. I predicted Inside Job without seeing it, and it won!

-Even though I'm eternally sad that Hans Zimmer didn't win anything for the most beautiful score I have ever heard in my life, I'm happy that The Social Network got this one. Absolutely genius score. But I'll still be playing 'Time' everyday and having the same chills everytime I hear it.
-I loved the song from Tangled, but of course Toy Story 3's 'We Belong Together' had to win. Surprisingly, out of 20 nominations, Randy Newman has only won twice.

-WALLY PFISTER FINALLY GOT AN OSCAR! He had been nominated four times, all for Chris Nolan masterpieces (Batman Begins, The Prestige, The Dark Knight and Inception) and finally won. Feeling kinda sad for Roger Deakins and Matthew Libatique though, since they've gone home empty handed even though there work in True Grit and Black Swan was amazing, but Wally Pfister rules! Especially when he thanks his 'master'. Yes, Nolan has incredible vision.
-Art Direction to Alice in Wonderland? What?!
-Costume Design to Alice in Wonderland? It still kills me to say that this film won more Oscars than True Grit, which was nominated 10 times but didn't get any return.
-Visual effects to Inception! Yeah, like it had any competition.
-The Wolfman got an Oscar...just for makeup. I heard about Cate Blanchett's 'thats gross' comment. Must have been more priceless than the movie.
-Sound editing to Inception! Wooo!
-Sound mixing to Inception! Woooo! It got 4 Oscars!

I didn't really watch much of the awards, only from about Best Song onwards. I wept over The King's Speech, but that's all in the past now. James Franco was a pretty dead end host, but Anne Hathaway was gorgeous...in the million dresses she wore.
Speaking of gorgeous, I'll just post my three most favourite and three least favourite dresses:

Best dressed-

Jeez, Natalie Portman is glowing. She could have worn a brown paper bag and she would have looked amazing. That colour is so cool. Like, it's my new favourite shade of purple.
All through the awards season, the Black Swan ladies have been the best dressed. Lilac is a risky colour, but Mila Kunis is so beautiful that she could pull this look off. Sure, it's a lot of lace just draped in weird ways, but it is beautiful. Definitely my favourite of the night.
The only thing that could have made Hailee Steinfeld's dress better would be making it go all the way down to the ground. But having it cut like that is cute and young. She's so gorgeous. I just hope we get to see more of her around these awards in the future.

Worst dressed-

Yeah, I know that Scarlett Johansson is supposed to be the sexiest woman in the world but this dress? Table cloth made pink and wrapped around 100 times until it fits averagely. Boring and pretty ugly.
Marisa Tomei's dress looks as dull as anything. That thing forming on the bottom sure doesn't work.
Jeez, Jennifer Hudson has lost a lot of weight. Unfortunately, the weird squeezing and colour of this dress makes her look a little less than special.

So, that's my first Annual Awards Nerdism done for 2010/2011 (sob). Feeling a little less than satisfied with this years outcome, I will go on with my life waiting for 2011's version of Inception or The Social Network to come out. Was Annual Awards Nerdism a 'yay' or 'nay' for you? What about the awards? I love comments :)
Thanks for reading this, everyone! Now back to normal reviews and everything...

AAN: Oscar predictions - Writing and Directing

Welcome to Part Three of my Oscar predictions - the big one that Annual Awards Nerdism for 2011 has come down to.

Key:

My Leo - Coolness. I want it to beat the crap out of the competition.

My Zuck - This one will win. For better or for worse.

My Steve - I will weep into my laptop keyboard if this wins.

Todays categories are:

-Best Writing, Screenplay Based on Material Previously Produced or Published

-Best Writing, Screenplay Written Directly for the Screen

-Best Achievement in Directing

Let's hop to it, shall we?

Best Writing, Screenplay Based on Material Previously Produced or Published

Toy Story 3 had lots of kiddie charm,
127 Hours made its lead lose an arm,
The Coens reinvented westerns with True Grit,
Winter's Bone didn't make me laugh one bit,
All these screenplays may put up a good fight,
and it's proven that all these people can wonderfully write,
but for this award there's only one walk-in,
and that's The Social Network's Aaron Sorkin.

My poetry skills serve as an insult to these very talented writers, I know, but I'm in the rhyming kind of mood at the moment, so let this be a warning: more poetry follows. Something fun, yes?
Anyway. Having seen all of these films (Winter's Bone review coming up tomorrow), I think I can count myself as a bit of an expert. But that's no use when it is as plain as the protruding nose on my face that Aaron Sorkin will win this one. If he doesn't...well, that would be like giving Best Picture to Sex and the City 2. He should win it for the opening scene alone. If only I could write like that man, I would be happy.
But let's not forget the other worthy contestants.
127 Hours has a nice script by Danny Boyle and Simon Beaufoy. I'm incidentally (and slowly) reading the original book by Aron Ralston, which is harrowing stuff, and somehow Boyle and Beaufoy managed to translate the descriptive will-to-live material onto the screen without much effort, and I respect that.
The Coens have always been well able screenwriters, and that is shown by winning two other awards for their writing abilities. Their scriptwork and characterization in True Grit is amazing, but I think they should take the year off, don't you?
Will someone please tell me how Toy Story 3 is an adapted screenplay and true stories like The Fighter and The King's Speech aren't? My second choice is this one, because it made me laugh, happy inside, and cry my eyes out more than I ever had until I watched Requiem for a Dream. And, if you ask me, it's damn good entertainment for every age group.
Winter's Bone is depressingly bleak, but I surprisingly liked it. The scriptwork was good too. I liked the way they captured the world in Ozarks and a chick kicking ass. The scenes towards the end still continue to haunt my dreams.

My Leo: The Social Network
My Zuck: The Social Network
My Steve: Winter's Bone

Best Writing, Screenplay Written Directly for the Screen

 
There was a surprising deserved nom for Another Year,
the Academy also went for The Fighter's boxing fare,
The King's Speech came back for another bite,
there's some funnies here with The Kids Are All Right,
the Academy may hate Chris Nolan it would seem,
but they nominated his script which dared to dream,
I hope that Inception can take it all,
for it was the movie which asked 'Did the spinning top fall?'
 
Fun Oscar fact I figured out myself: Black Swan is the only Best Pic nominee not nominated for a screenplay award. Taking its place is Mike Leigh's screenplay for Another Year, a movie which I haven't seen but have heard plenty of good things about. The Kids Are All Right gets a well deserved nod here, along with true story-based The Fighter.
Hey, the party is over here. Will Inception or The King's Speech win? If you asked me for the answer to this question just before the awards season started, I would have gone with Inception hands down. As awards season progressed, my heart was still with Inception but The King's Speech won everything. Then a miracle happened. Inception won big at the WGAs, but The King's Speech wasn't in contention. So, the stats would say that The King's Speech will be the big winner, yes? No. I refuse to stoop to that level. I haven't given up hope on Inception. After all, Chris Nolan is already overdue, they snubbed him so all the backlash from that should get my boy some votes, and, look at it this way: his script is virtually the meaning of 'original'. As original as you can get.
I don't care for all the hoopla surrounding The King's Speech. Inception and Chris Nolan are still my main men.
 
My Leo: INCEPTION!
My Zuck: Inception
My Steve: Another Year
 

Best Achievement in Directing

I'm still getting over the Chris Nolan snub,

but these directing men folk seem nice enough,

Darren Aronofsky showed us how ballet is done,

The Coens showed us how the west was won,

Tom Hooper's film got approval by the Queen,

David O. Russell tried to get Christian Bale clean,

David Fincher may do lots of films on disturbing tales,

but we all know he is a director who never fails,

here he hits the jackpot with a movie about the net,

and he makes The Social Network a film we can't forget.

Let's get this out of the way first: I like David O. Russell and The Coens direction. But Danny Boyle and especially Chris Nolan should have been nominated. They were just better, y'know?

For me, this race is a three way between Tom Hooper, Darren Aronofsky and David Fincher. Why?

David Fincher has won lots of directorial awards, including the Golden Globe and BAFTA. And hey, look at his filmography. Surely, all the greatness from that list makes him worth the votes? While I can see him gaining similar attention for his upcoming The Girl with the Dragon Tattoo, this year he's going to shine.

Tom Hooper won the DGA. While his work isn't amazing, there are a lot of things that could point him to a win. The main reason being: all the awards hype surrounding The King's Speech. The Best Pic winner generally wins Best Director too. But who said The King's Speech will win Best Pic? Also, the Academy love new blood. Especially if it's British.

Darren Aronofsky could possibly sneak the upset. His filmography, though select, could work in his favour. You gotta admit, his work in Black Swan is beautiful. Hopefully the voters will see the light and vote for this deserving man. But that's probably a long way off...

My Leo: Darren Aronofsky

My Zuck: David Fincher

My Steve: David O. Russell

So that's it for tonight. Sorry if I have damaged you with my bad poetry skills. Tomorrow I will take a look at all the acting awards. Until then, Au Revoir!