Seriously speaking, I’m very happy with the results. I feel like “The Hurt Locker” victories are ones I can live with, unlike something like “Slumdog Millionaire.” I was especially moved to see a lot diversity in the winners’ pool and appreciated the choice of art over financial success. The Academy will surely take a lot of crap for it, but I must applaud them.

Best Picture: “The Hurt Locker” Kathryn Bigelow, Mark Boal, Nicolas Chartier, Greg Shapiro
Best Director: “The Hurt Locker” Kathryn Bigelow
Best Actor: Jeff Bridges in “Crazy Heart”
Best Actress: Sandra Bullock in “The Blind Side”
Best Supporting Actor: Christoph Waltz in “Inglourious Basterds”
Best Supporting Actress: Mo’Nique in “Precious”
Best Original Screenplay: “The Hurt Locker” Written by Mark Boal
Best Adapted Screenplay: “Precious” Screenplay by Geoffrey Fletcher
Best Foreign Language: “The Secret in Their Eyes (El Secreto de Sus Ojos)” Argentina
Best Animated Film: “Up” Pete Docter
Best Documentary: “The Cove” Louie Psihoyos and Fisher Stevens
Best Cinematography: “Avatar” Mauro Fiore
Best Art Direction: Avatar” Rick Carter, Robert Stromberg, Kim Sinclair
Best Costumes: “The Young Victoria” Sandy Powell
Best Editing: “The Hurt Locker” Bob Murawski and Chris Innis
Best Score: “Up” Michael Giacchino
Best Song: “The Weary Kind”(Crazy Heart) Ryan Bingham and T Bone Burnett
Best Makeup: “Star Trek” Barney Burman, Mindy Hall and Joel Harlow
Best Visual Effects: “Avatar” Joe Letteri, Stephen Rosenbaum, Richard Baneham, Andrew R. Jones
Best Sound Editing: “The Hurt Locker” Paul N.J. Ottosson
Best Sound Mixing: “The Hurt Locker” Paul N.J. Ottosson and Ray Beckett
Best Animated Short: “Logorama” Nicolas Schmerkin
Best Live Action Short: “The New Tenants” Joachim Back and Tivi Magnusson
Best Documentary Short: “Music by Prudence” Roger Ross Williams and Elinor

Before I reveal my choices, I want to share that Mr. Craig Kennedy will be hosting a lovely (virtual) gathering tonight during the ceremonies, so make sure you stop by Living in Cinema’s Live Stream of Oscar Consciousness, beginning at 5:00 p.m. (PST), better known around these parts as 8:00 p.m. (EST). I hope to see you there. Drinks will be served.

Without further ado, here are my predictions:

NOMINEE	GRADE	COMMENTS
Avatar	B+	A visual marvel that, unfortunately, lacked in depth. Expertly executed by James Cameron, it kept me at a distance throughout most of its duration. The financial success of the film should keep things interesting tonight and I expect it to sweep most of the technical effects categories. Alas, I think the Academy will bypass it for its most prestigious categories, and yes, that would include best picture. That’s my ballsy prediction of the night.
The Blind Side	B	Another box office smash that manages to succeed in large part due to Sandra Bullock’s performance. The film pleased audiences nationwide, but it is simply not the type of “prestige” project Oscar goes for. The film will have to do with the likely victory of its protagonist.
District 9	A	The guilds, the Globes and the critics have gotten it all wrong this year and most assuredly will the Academy tonight. “District 9″ is quite simply the best science fiction film to come out of 2009. Too bad it will probably go home empty handed tonight.
An Education	B	The powers that be surely saw something in the film that went way over my head. Harking back to the kitchen-sink dramas of the 50s and 60s, the film is populated by talented actors, but be it the story itself or the direction, the film feels terribly familiar and quickly overstays its welcome. The by-the-numbers resolution surely didn’t help.
The Hurt Locker	A	One of the best films of the year. A “Locker” victory would be more than well deserved. Bigelow and company have crafted the type of film that grabs the viewer by the neck and never lets go. Packed with thrilling action/suspense sequences and armed with a message that is neither heavy-handed nor pandering, Bigelow walks a thin line and will hopefully be rewarded tonight for her remarkable achievements.
Inglourious Basterds	A	Let’s face it: the Oscars are a game. They are, for the most part, a popularity game and you never know what will strike their fancy on a given year. So while I acknowledge and predict that “The Hurt Locker” will win best picture, the film that will be studied, dissected and revered in years to come is “Inglourious Basterds,” which, in a fair playing field, would be the rightful winner. In terms of story-telling, cinematography, and acting, it is eons ahead — way past Pandora. But let’s not lose sight of reality, there’s a story furiously fueling this year’s awards and that’s the Cameron/Bigelow “drama.” Bitter much, you ask? Perhaps in a different year or if the two frontrunners were, say, “Up in the Air” and “An Education,” but I can pretty much tolerate the “Avatar” hype and find “The Hurt Locker” a worthy contender. So no, not bitter, just realistic.
Precious	A	What a refreshing surprise it would be to see “Precious” walk away the night’s big winner. But its best chances are in the Supporting Actress and Adapted Screenplay categories. There is some hope for lead Sidibe to sneak in and beat Bullock and Streep, but at this point, I’m keeping my predictions as conservative as possible.
A Serious Man	A	Speaking of underappreciated gems, there’s the Coen Brothers’ latest outing, a terrifically entertaining and intelligent film that will most likely go home empty-handed.
Up	A-	This film boasts the best opening of the year and is perhaps the year’s most moving story. It will probably win in the Animated category, but watch out for “Fantastic Mr. Fox,” a critical favorite. Only one thing is for sure: it will not walk away as the best film of the year.
Up in the Air	B-	This is the “why” film of the year. Do I just have it out for Jason Reitman? Am I too cynical? Did I pop in the wrong Clooney masturbatory film in the DVD? I’ll think about that tonight and then quickly dispose of such thoughts for eternity. That’s, in fact, the highlight of tonight’s show for me: I will not have to hear about this film in terms of its award worthiness again . . . or until the MTV Movie Awards.

Here are my predictions in their entirety:

Woody Allen, shooting his next untitled film in Paris this summer, has set Marion Cotillard for a lead role. The French actress will star alongside Owen Wilson. France’s First Lady, Carla Bruni-Sarkozy, has reportedly been mentioned as a possible participant, but nothing’s set yet. Cotillard most recently starred in Nine, and performed the Best Original Song nominee Take It All.

Allen’s untitled film is being financed under his three-picture deal with Spain’s Mediapro. For a New Yorker who watched the Gotham industry become accustomed to Allen making his annual film here, it still seems odd watching the quintessential New York director shoot in Paris, London or Barcelona, though he returned for Whatever Works. Allen long enjoyed a relationship with studios that few directors could match, where they financed his films without reading scripts. His road tripping began when he found funding overseas from financiers more amenable to such demands.

He recently wrapped You Will Meet a Tall Dark Stranger, which shot in London and is scheduled for release in September.

Guys, I had to post it. It was too funny not to. God bless The Onion.

From Awards Daily (Final Tally):
Best Picture – The Hurt Locker!!
Best Actress – Carey Mulligan, An Education
Best Actor – Colin Firth, A Single Man!
Best Director -Kathryn Bigelow for The Hurt Locker
Film not in the English Language – Un Prophete
Animated Film – Up
Adapted Screenplay – Jason Reitman & Sheldon Turner for Up In The Air
Orange Rising Star Award – Kristen Stewart
Production Design: Rick Carter, Robert Stromberg & Kim Sinclair for Avatar
Original Screenplay: Mark Boal for The Hurt Locker
Outstanding British Film: Fish Tank
Supporting Actress: Mo’nique, Precious (Based On The Novel Push By Sapphire)
Makeup and Hair: Jenny Shircore for The Young Victoria
Costume Design: Sandy Powell for The Young Victoria
Supporting Actor – Christoph Waltz, Inglourious Basterds
Visual Effects – Avatar
Cinematography – Barry Ackroyd for The Hurt Locker !!
Editing – The Hurt Locker
Sound – The Hurt Locker (!)
Music – Michael Giacchino for Up
Outstanding British Debut: Duncan Jones for Moon
Short Film – I Do Air
Short Animation – Mother Of Many

I apologize for the delay, but that’s what happens when one has real life obligations. Sigh.

Now, I respect people’s opinions and can withstand criticism of some of my favorite films with a stiff upper lip, but one thing I’ve never cared for are the opinions of those who go against the grain for the sake of going against the grain. To be a contrarian in the face of overwhelming evidence to the opposite strikes me as a waste of time and talent. Of course, everyone has the right to their own opinion. But by the same token, everyone has the right to disagree and substantiate that disagreement.

Mr. Gebbit’s piece is well-written and film, like any other art, is undeniably subjective — but even a subjective opinion should be informed by context, history, and most importantly, what’s staring you right in the face. To trash a film from a tragically narrow perspective of the narrative tropes and conventions of the era in which it was created is simply lazy. To consciously disregard ridicule or minimize the impact of the work itself on the subsequent output of other artists, either consciously or sub-consciously, is self-defeatist and strips the writer of any credibility solid writing skills may have wrought. But that’s just me.

Here’s Sam’s piece in full:

Over the past days there’s been a barnstorm of controversy over fellow blogger Stephen Russell-Gebbit’s dismissive review of Orson Welles’ legendary Citizen Kane, and the issue of how important serious film criticism is has never been as topical, nor as vital. I’ve been taken to the carpet more than once over my respect and veneration of professional film criticism – at least one blogger, who’s one of the best writers among the internet fraternity – mentions regularly that any argument that implies that concensus is a decisive factor is bankrupt. Yet, the very nature of film criticism, and it’s essence is to enlighten and to enrich one’s experience with any proposed work of art. Any attempt to diminish or compromise serious film criticism at the expence of a vaguely defined ‘first ammendment right’ seems to me an act of narcissistic blindness, and a repudiation of ‘ladder ascendency’ that has informed year’s of critical aptitude, built on uncanny writing talent and the ability to see the worth in in any cultural entity.

Hence when a brash 25 year-old blogger-critic (and I am not speaking here of Stephen Russell-Gebbit. I don’t even know how old he is, I am just posing a point that has obsessed me long before Stephen’s review was published, and there are a few other instances where what I am saying here can be applied) attempts to dismiss serious intellectual film criticism written by the likes of James Agee, Andrew Sarris, Dwight MacDonald, Stanley Kauffmann, Andre Bazin, Pauline Kael, Dilys Powell, Leslie Halliwell, John Simon et al, I would like to hear more than just a comparitively facile disagreement based on taste. I have disagreed more times than I can remember with any of the aforementioned fraternity, yet I’ve been endlessly enriched by their consistently enlightening examinations which were founded on many years of scholarly study and extensive experience in writing and in their field. It is all too easy for a novice, who lacks the proper skills to compete on this intellectual level to throw around arbitrary dismissals, as if their own personal “blog” was some self-annoited pillar of intellectual authority. When I want to engage myself in a baseball game, I’ll watch the Yankees play the Red Sox. I won’t walk up the street and take in a Little League baseball game (unless my kids are involved! Ha!) When I want to be ravished by a serious work of art, I may opt to view the J.M.M. Turner exhibit at the Museum of Modern Art, rather than avail myself of seventh-grade art on display at my local library. When I want to hear Mozart’s ‘Clarinet Concerto’, I’ll head over to Avery Fisher Hall and listen to the New York Philharmonic, rather than availing myself of a local classical buff’s amateur efforts, as admirable and commendable as this effort may be. The latest revival of Roger’s and Hammerstein’s South Pacific is enjoying a glorious run at Lincoln Center, and I maintain far more serious appreciation and respect for it in an artsitic sense than for a local production that barely scratches the surface in all departments.

I find it hypocritical that some bloggers attempt to place themselves on even ground with serious critics solely on the argument that ‘they are entitled to their own opinion.’ When such an opinion is expressed with authoritative obstinance, a marked lack of humour, zero degree of humility and complete disregard for the mass of concensus, which has spent decades in foundling principles of critical theories and extensive thesis-writing – all on a single critical rant posted at a blog – well then I think it’s high time we reconsider our own ‘importance’ in the larger scheme of things.

I am not posing blind adoration or even rudimentary agreement, only the knowledge that there are perhaps some people who may have worked a lot harder and more persuasively at posing their own arguments. In the same way that professional critics make reference to literary scholars, authors and philosophers, I will make reference to these critics who have informed their work with pertinent historical, social and artistic concerns that are more-often that not set aside in favor of largely arbitrary judgement based on something as negligible as personal taste.

I am proud of what I have written at this site, and feel much of what I say is as meaningful as what the professionals have said. But I also know there are others in this world who have gone even further in a number of ways to make far stronger cases. I’ll always express my opinion, but alas, I also know my place.

But the fun is only beginning. Check out the comment section for one of the most satisfying discussions on film criticism I’ve seen in a long time, reflecting almost every perspective and point of view.

Congrats to Amy on another great issue!

Awards Daily just posted this wonderful video and I feel it’s a great way to start off things.

Expect a capsule review of “The Deer Hunter” some time this weekend. It’s a fairly long film, so it’s the only one I’ll watch. I’m really looking forward to seeing “Kramer vs. Kramer” again and “The French Lieutenant’s Woman” for the very first time.

*Denotes title is available on Netflix’s “Instant Watch”

The premium cable network has picked up the five-hour miniseries project starring Kate Winslet, which it will co-produce with MGM, Killer Films and John Wells Prods.

Haynes is directing the adaptation of James M. Cain’s classic noir novel, which centers on Mildred Pierce Beragon (Winslet), a proud single mother struggling to earn her daughter’s love during the Great Depression in middle-class Los Angeles.

Haynes and Jon Raymond co-wrote the script for “Mildred,” which is being executive produced by Haynes, Pamela Koffler and Christine Vachon of Killer Films and John Wells. Ilene Landress serves as producer.

Casting for the other roles is under way, with production on the mini slated to begin in April in New York.

I, for one, am stoked about this. A collaboration between Winslet and Haynes feels heavenly. True, heavy-handedness aside, “Mildred Pierce” is some sort of masterpiece and the casting director should have a blast trying to find someone as annoying as Ann Blyth to play Veda, but anything is possible when Winslet is on board! (is that enough fangirling for you?)

Read the rest of the article here.