81st Annual Academy Awards Predictions

Last year's Oscar telecast drew its lowest rating in thirty years. This year's could draw even lower than that. Chalk it up to the quality of films released this year, poor marketing or a bad economy but for whatever reason I'm sensing a real lack of interest in this year's Oscars and how that will or won't translate to the big show is anyone's guess. The Academy did ABC and viewers no favors with the films they nominated (or in some cases didn't) but that's not their job. Their job is to recognize the year's best and in that respect they could have done much worse. And at least the acting races are strong, specifically one.

With the exception of the Best Supporting Actor coronation casual viewers will likely tune out, but for diehard film fans this is the Superbowl. After last year's disaster changes have been made. We have a new host (Hugh Jackman) and supposedly an overhaul of sorts. Just as an actor can be either be deserving or undeserving of an Academy Award, the same applies to presenting one and there have been some disturbing rumors as to who may be doing those honors this year.

It's funny how the closer I've followed films in the past couple of years the worse my predictions have gotten. Before I started reviewing movies and just followed the Oscars casually I did much better. Last year I embarrassingly managed to miss nearly everything. Below are my picks as to who I think will win in the major categories along with an analysis where I chime in with an opinion. I played it pretty straight here but if there are going to be any huge upsets or surprises, a seemingly bland and predictable year like this is when it's most likely to happen.

Best Picture:
"The Curious Case of Benjamin Button"
"Frost/Nixon"
"Milk"
"The Reader"
"Slumdog Millionaire"

Analysis:
I can't stand it when I'm forced to almost root against a movie I love because the media has shoved it down our throats. That's what we have with the hype surrounding Slumdog Millionaire, a film its distributor insists on selling as a warm and fuzzy, lightweight "feel good" Bollywood romance. It isn't. It's far better than that. The movie Boyle ACTUALLY MADE deserves to win, not that one. Unfortunately, it's getting tougher to separate the two. As much as I hate inevitable outcomes and the media deciding the race for us I still can't disparage it because it is a great film and will be one of the stronger Best Picture choices they've made in years. Too bad it's winning for all the wrong reasons. Although you'd never know it, there are four other films competing.

Milk, the weakest nominee of the bunch has the best chance to spoil Slumdog's parade and if it does I'm throwing a brick at the television. It would be one of the Academy's dumbest, most overtly politically driven decisions of the decade. The Reader's deficiencies are exaggerated but it's still slightly undeserving of its nod and has little to no chance. I bet no one even knows Frost/Nixon is nominated, which is a shame. That leaves Benjamin Button, the most nominated and commercially successful film in contention. You can't completely discount anything with 13 nods but it'll fare better in the technical categories.

Prediction: It is Written.

Best Director:
Danny Boyle, "Slumdog Millionaire"
Stephen Daldry, "The Reader"
David Fincher, "The Curious Case of Benjamin Button"
Ron Howard, "Frost/Nixon"
Gus Van Sant, "Milk"

Analysis:
If you're putting odds on a huge upset you could do worse then putting them in this category. In weak years like this the Picture and Director winners have a tendency to not match (see '98 and '05). Since Slumdog is a virtual lock for the big prize Boyle isn't quite as safe as you've been lead to believe. I will say he's the only choice here who pulled something out of himself as a filmmaker that we never knew he had. It really is a huge accomplishment deserving of the win. Daldrey shouldn't be there. The Howard nod is a show of respect and nothing more. Milk isn't a "director's film." Nothing would make me happpier than waking up on Monday morning and uttering the statement: "David Fincher, the Academy Award winning director of The Game, Fight Club, Zodiac and The Curious Case of Benjamin Button." Not happening though.

Prediction: Danny Boyle

Best Actor:
Frank Langella, "Frost/Nixon"
Sean Penn, "Milk"
Brad Pitt, "The Curious Case of Benjamin Button"
Mickey Rourke, "The Wrestler"
Richard Jenkins, "The Visitor"

Analysis:
The one race EVERYONE seems to care about and justifiably so. What a strong category. No matter what the outcome the real winners here are moviegoers. Some think Penn and Rourke will split their votes and Langella could sneak in. Not a chance. Same goes for Jenkins and Pitt. All were amazing though. This is a two man race and and if Rourke wins we're guaranteed the speech of a lifetime and the second most emotional moment of the night. Despite my misgivings about the film in which he stars it would be far from an injustice if Penn takes it. Rourke is gaining buzz by the second and catching up. You've heard the expression, "too close to call" in the past except this time it's actually true. It'll be a painfully long pause when they open that envelope.

Prediction: I'm convinced whoever I pick will be wrong which is why I'm picking Sean Penn, hoping that I am. When it's this close the Academy usually makes the safer, more predictable choice.

Best Actress:
Anne Hathaway, "Rachel Getting Married"
Angelina Jolie, "Changeling"
Melissa Leo, "Frozen River"
Meryl Streep, "Doubt"
Kate Winslet, "The Reader"

Analysis:
It's safe to say nearly everyone (with the possible exception of Raffaello Follieri and Kate Hudson) are rooting for Hathaway. Even I want her to win and I haven't even seen the film yet. In any other year Streep would have this locked up but she's at a disadvantage by not being Kate Winslet. Who's Melissa Leo? What's Frozen River? They finally decided which movie to nominate Winslet for and in which category so that's that. Expect lots of tears. Not just from her but from viewers who hate The Reader.

Prediction: Angelina Joli...kidding. Kate Winslet.

Best Supporting Posthumous Heath Ledger Award:
Josh Brolin, "Milk"
Robert Downey Jr., "Tropic Thunder"
Philip Seymour Hoffman, "Doubt"
Heath Ledger, "The Dark Knight"
Michael Shannon, "Revolutionary Road"

Analysis: Seriously?

Prediction: Give me a break.

Best Supporting Actress:
Amy Adams, "Doubt"
Penelope Cruz, "Vicky Cristina Barcelona"
Viola Davis, "Doubt"
Taraji P. Henson, "The Curious Case of Benjamin Button"
Marisa Tomei, "The Wrestler"

Analysis:
The only category where literally ANY of the five nominees can win, except maybe Henson. The Supporting Actress award has a long history of upsets and unpredictability but this year it's really wide open. You may as well just close your eyes and just point to a name. Cruz gave the is the safest bet statistically but her film's lack of nominations elsewhere is a little worrisome. Adams is coming on strong and co-star Davis isn't lagging far behind. If the Academy gave Tomei an Oscar for My Cousin Vinny they couldn't possibly overlook the best performance of her career in The Wrestler, could they? Yes they can.

Prediction: Penelope Cruz

Would Most Like To See: I'd jump up and down screaming like a little girl if Fincher won Best Director.

Would Least Like To See: Milk win Best Picture. "Least like to see" is a huge understatement.


And The Rest:
Original Screenplay: Dustin Lance Black, "Milk" (Can someone please explain to me how this qualifies as an "ORIGINAL" screenplay?)
Adapted Screenplay: Simon Beaufoy, "Slumdog Millionaire"
Animated Film: "Wall-E"
Foreign-Language Film: "Waltz With Bashir"
Documentary: "Man On Wire"
Editing: "Slumdog Millionaire"
Cinematography: "Slumdog Millionaire"
Art Direction: "The Curious Case of Benjamin Button"
Costume Design: "The Duchess"
Makeup: "The Curious Case of Benjamin Button"
Original Score: "Slumdog Millionaire"
The "Bruce Springsteen should have not only been nominated but won" Award (or Original Song): “Jai Ho,” Slumdog Millionaire
Visual Effects: "The Curious Case of Benjamin Button"
Sound: "The Dark Knight"
Sound Mixing: "The Dark Knight"
Live-Action Short: "Spielzugland (Toyland)"
Animated Short: "Presto"
Documentary Short: "The Conscience of Nhem En"

The Reader

Director: Stephen Daldry
Starring: Kate Winslet, Ralph Fiennes, David Kross, Lena Olin
Running Time: 124 min.
Rating: R

*** ½ (out of ****)

SPOILER WARNING! THE FOLLOWING REVIEW REVEALS KEY DETAILS OF THE FILM'S PLOT

Jaws dropped on the morning of January 22nd when Stephen Daldry’s controversial and much maligned The Reader was announced as one of the five films set to compete for the Best Picture Oscar. It took a spot many thought should have been reserved for The Dark Knight and in doing so has been on the receiving end of what could almost be considered a smear campaign heading into the ceremony. When the film ended I needed quite a bit of time to sit and gather my thoughts on it, much less form or express an opinion on it. It’s less an emotional journey than an intellectual one and I can sympathize with those who are upset with the film’s methods or see no value in the entire experience. But I do believe those who think the film asks us to feel sorry for a Nazi war criminal simply because she’s illiterate, or even asks us to feel sorry for her at all, are way off the mark. That’s a gross oversimplification that speaks more to our uneasiness with the subject matter than anything else. Besides, the Academy would never have enough guts to nominate anything that offensive.

The film instead gets most of its mileage from the fact that it really isn’t about Holocaust, but what happens when your previously held perceptions about someone are challenged and pushed to the breaking point. It’s an interesting character study that isn’t necessarily the offensive smut fest you’ve heard it is. That said, the stodgy Academy only nominated it because it touches on the topic of the Holocaust, was produced by the late Anthony Minghella and Sydney Pollack and stars a frequently nude Kate Winslet as a pedophile Nazi guard. While a thoughtful, well-directed film, there’s little evidence to suggest it deserves to be listed as one of the top cinematic achievements of the year. Then again, the same exact statement could be made (to a greater extent) about the mediocre Milk, another Best Picture nominee this year that inexplicably earned widespread acclaim.

The film (based on Bernhard Schlink’s German novel) opens as middle-aged lawyer Michael Berg (Ralph Fiennes) reflects back on his days as a 15-year-old (Michael Kross) in 1950’s West Berlin. During that summer he meets Hanna Schmitz (Winslet) a cold, detached tram attendant in her mid-thirties who takes him in after discovering he falls ill with Scarlet Fever in front of her apartment. After he recovers he goes back to thank her and the two begin a torrid affair in which their passionate bouts of sex are preceded by him reading to her. Aside from the obvious legal issues, this isn’t exactly the healthiest of relationships. Michael, who she refers to as “kid” has to start re-prioritizing his teenage life to meet her needs and feels his own sense of self sliding away in the process. Of course the running joke here is that this kid would instead probably be running around bragging to his friends that he’s banging the hot older chick down the block who looks like Kate Winslet, which just speaks to how inherently difficult this topic is to tackle on film. Just imagine if the genders were reversed. The affair doesn’t last long as Hanna vanishes at the end of the summer. Flash forward to 1966 when Michael (now in law school) discovers her on trial for aiding in the murder of 300 Jews while serving as an SS Guard at Auschwitz.

Hannah is unrepentant, claiming she was just “doing her job,” as a horrified Michael silently looks on with his law class. She doesn’t want to defend herself against the heinous allegations, or more accurately, just can’t. The secret she’s keeping, the one she took a job at Auschwitz to hide, brings her more shame than her role in the murders. That speaks to the character’s moral shortcomings, not the film’s and isn’t Daldry’s personal endorsement that involvement in the Holocaust is somehow “less shameful,” than not knowing how to read, as some have been trying to spin it. People like this existed and probably still do. She’s horrible, her actions beyond deplorable and I didn’t feel sympathy for her at all, nor was I supposed to. And I especially wasn’t supposed to simply because she can’t read. The film gives you a choice and Daldry’s not holding a gun up to your head telling you what to feel. This kid fell in love (or in lust) with the wrong person and now must forever live with the consequences. That’s what this story is REALLY about.

There comes a point in the trial where he’s faced with the option of coming forward with the valuable information that could help her case and must wrestle with speaking up or remaining silent. The choice isn’t easy. It’s here where we’re allowed to put ourselves in his shoes while the film questions the idea of moral responsibility before trailing off in an unexpected direction entirely as the story moves into the ‘70’s and beyond. Michael carries that guilt and grief with him into his adult life, which Fiennes externalizes so well in a role that’s about ten times larger and more important than you’ve been led to believe from the ads. An encounter late in the film between Michael and a survivor (played by Lena Olin) even directly addresses our concerns about having any pity for Hanna. This is Michael’s story and his search for acceptance that his involvement with her has drastically altered his life and even impacted his relationship with his daughter. It’s perplexing how anyone could say Hanna is absolved or let off the hook for her actions given her circumstances by the end of the film. In fact, they really let her have it.

As far as Kate Winslet’s best performances go, this ranks in the top tier, which says a lot. She’s why all of this works and while the arguing rages on as to whether the film wants you to feel sympathy for her character, no one could claim her performance asks you to. Just watch what she does (and doesn’t do) in those courtroom scenes and then later on when she’s believably aged to 65. To say she deserves the Oscar for this is almost beside the point considering she’s pretty much deserved one for every role she’s played in her career. What’s interesting to note is that this part almost went to Nicole Kidman. Had she gotten it this probably would have been a completely different film. After Birth, you’d figure seducing underage kids in bathtubs would be a piece of cake for her now. Fiennes brilliantly anchors the third act but it’s David Kross as the 15-year-old Michael who shares all the major scenes with Winslet and goes miles further than just holding his own, conveying all the confusion and angst someone that age would be feeling while saying very little.

This is a defense of the film, although not a passionate one because I really believe Academy members voted for it for all the wrong reasons and it shouldn’t rank among the top five achievements last year in cinema. It was only released to line Harvey Weinstein’s pockets and rack up Oscars and that it ended up actually being intelligent was probably some kind of happy accident. At times it also feels like a homework assignment. But that doesn’t mean we should just stop making movies about difficult, challenging subjects because it makes us uncomfortable. Or that all characters in these types of films should be portrayed as inhuman monsters who cackle and twirl their Hitler mustaches while sending innocent people to die because it makes us feel better about what happened. Many of them were probably a lot like this woman.

The tough issues covered here couldn’t have been handled any more sensitively and the tone couldn’t have been balanced any better yet everyone still seems to find it inappropriate. At least this inspires thought and discussion. Something like Milk just inspired for the sake of inspiring. And reducing a daring political figure’s life to standard TV movie of the week fodder is more offensive to me than anything in this. At least this took risks. Sorry, but nothing about the film is average, from its writing, to its direction, to the performances. And I do sincerely apologize for that because I really wanted to hate this film more than you know. It ends giving you a lot to think about, which is what good art should do. That The Reader has sparked such controversy and outrage is a credit to its power, but also a disturbing sign that the notoriously out-of-touch Academy may have actually struck a nerve.

The Dark Knight Snubbed (And Other Oscar Thoughts)

Well, there was no need to get our hopes up. Viewers will probably skip the Oscars again this year as the Academy just assured itself more record-low ratings. I was optimistic things would would be different this time and they'd go out on a limb for a change but after looking over the nominations, I've got just one question: How many votes does Ernest Borgnine get anyway? Now I'm by no means implying they should be nominating pictures based solely on commercial appeal or popularity but if you have a film that's a huge financial success AND one of the best reviewed in a weak year, wouldn't it just make sense to nominate it for the big prize?

While I don't think the snub of The Dark Knight ranks among the Academy's all-time worst offenses (at least in terms of the film's actual quality), it's still horrifying for what it says about them and their tastes. I heard a film critic (to use the term loosely in this case) remark earlier today that there's "something for everyone" in today's nominations. If by "something" he means Holocaust dramas about pedophiles and by "everyone" he's talking about 75 year-old Academy voters, then he'd be right.

As for my predictions I struck out badly (as I'm sure most did), showing too much faith that they'd finally adapt a more forward-looking vision. Instead they set us back about 50 years. I scored a little over 72% in guessing the eight major categories with "Adapted Screenplay" being the only category I completely nailed. Had I correctly anticipated their elitist mindset there would spill into all the other categories I would have fared a whole lot better. But that's irrelevant. I would have gladly gotten them all wrong if it meant them making the right choices.

Some random thoughts:

"Mark My words: Angelina Jolie's getting snubbed for Changeling." Oops. My bad.

-"They'll see Brad Pitt's performance in Benjamin Button as an achievement in visual effects more than anything else." Oops again.

-"The only other outside possibility is Revolutionary Road's Michael Shannon but his buzz has completely died out." Oops a third time.

-Not even Nolan for Best Director? Wow. Harsh.

-Milk nominated for Best Picture. Seriously? Milk?

-Bruce Springsteen fails to be nominated for Best Original song. WHAT????!!!!! This is low... even for them.

-Kate Winslet nominated for lead actress for The Reader, the film for which she won a Golden Globe for Best... SUPPORTING ACTRESS. Huh? Make up your minds.

-They do the right thing in nominating The Visitor's Richard Jenkins for Best Actor and In Bruges for Best Original Screenplay. But, honestly, who cares? Why should I "congratulate" them for recognizing obviously brilliant work? Their missteps today were far outweighed those two selections.

-While I'm thrilled one of my favorite filmmakers David Fincher now has "Oscar nominated director" in front of his name isn't it kind of disturbing the Academy chose to reward his worst received film? I haven't seen Button yet but I haven't met many who think it's a superior effort to The Game, Fight Club, Zodiac or even Se7en.

-It's a cake walk for Slumdog Millionaire. Why not just announce it as the winner now?

What an embarrassing day for the Academy. They had a chance to really shake things up and get people excited about movies again. On the bright side, at least we still get to make jokes about how snobbish and out of touch they are.

Relive the horror below.

Academy Award Nomination Predictions

Whether it's Dreamgirls being shockingly snubbed for Best Picture two years ago or Tommy Lee Jones being announced as a Best Actor nominee for In The Valley of Elah last year the Academy Award nominations always seem to bring a few surprises. Some that no one can see coming. Just imagine the gasps in that auditorium if we hear the words, "DUSTIN HOFFMAN FOR LAST CHANCE HARVEY." Crazier things have happened. Or there could be no surprises at all. That's been known to happen too.

My choices for the five Best Picture nominees don't differ all that much from the prediction I made a couple of months ago, save for one. While I was dead-on in calling the meteoric rise of Slumdog Millionaire, I miscalculated with Revolutionary Road, which turned into a bigger awards disappointment than anyone could have predicted. Something like this is always tricky and almost requires a balance between playing it straight and taking some well-chosen risks. We'll see how I do.

Best Picture:
“The Curious Case of Benjamin Button”
“The Dark Knight”
“Frost/Nixon”
“Milk”
“Slumdog Millionaire”

Analysis: I have my fingers crossed that I'm wrong and the preposterously overrated Milk fails to earn a Best Picture nod, which isn't so far-fetched considering it's been losing a lot of steam lately. That's my one wish for the morning, as negative as it sounds. This category still isn't set in stone as The Reader, The Wrestler or even Gran Torino could easily sneak in. Doubt is also still a possibility. Button is the second most vulnerable. I haven't seen those four but I'm still confident any of them would almost have to be a better choice than Milk. I'm just not completely sold that voters will agree. And no, WALL-E isn't out of this yet.

Best Director:
Darren Aronofsky, “The Wrestler”
Danny Boyle, "Slumdog Millionaire"
Clint Eastwood, “Gran Torino”
David Fincher, “The Curious Case of Benjamin Button”
Christopher Nolan, “The Dark Knight”

Analysis: The picture and director nominations NEVER MATCH (as little sense as that makes). This means someone's getting snubbed. It'll be Gus Van Sant who has the least "directorly" film of the nominees. Sean Penn's getting all the credit anyway so voters will probably just assume he directed himself. This opens the door for Aronofsky. The Wrestler probably peaked too late to get the Best Pic nod so they'll want to reward it for something other than the acting and song categories. Besides, with names like Boyle, Fincher and Nolan there doesn't it seem weird NOT to have Aronofsky joining them? Ron Howard was overloooked before for Apollo 13 and now it'll happen again with Frost/Nixon. Acknowledging Eastwood in the twilight of his career is just too great an oppportunity for the Academy to pass up.

Best Actor:
Clint Eastwood, “Gran Torino”
Richard Jenkins, “The Visitor”
Frank Langella, “Frost/Nixon”
Sean Penn, “Milk”
Mickey Rourke, “The Wrestler”

Analysis: This is pretty cut and dry with the exception of one surprise. Actors make up a large voting block so I'm predicting they'll find it impossible not to nominate Richard Jenkins' understated but brilliant work in The Visitor. It was just too good. They'll see Brad Pitt's performance in Benjamin Button as an achievement in visual effects more than anything else. That film is already on shaky ground as it is so it'll get hit here. In a repeat of 1997 when he had to stand by and watch Winslet grab all the glory, DiCaprio will be shut out for Revolutionary Road.

Best Actress
Anne Hathaway, "Rachel Getting Married"
Sally Hawkins, “Happy-Go-Lucky”
Meryl Streep, “Doubt”
Kristin Scott Thomas, "I've Loved You So Long"
Kate Winslet, “Revolutionary Road”

Analysis: Mark my words: Angelina Jolie's getting snubbed for Changeling. If she didn't get a nomination for A Might Heart (a better received performance) she sure won't be getting one for this. Every year it seems they like to honor a boring accomplished actress no one cares about in a performance nobody saw. So it's essentially a coin toss between Frozen River's Melissa Leo and I've Loved You So Long's Kristin Scott Thomas. While it's bad timing for Hathaway that Bride Wars hit theaters just as ballots were being mailed out, she's sitting pretty after the Globe co-win and is actually considered a front-runner along with Streep.

Best Supporting Actor
Josh Brolin, “Milk”
Robert Downey Jr., “Tropic Thunder”
Philip Seymour Hoffman, “Doubt”
Heath Ledger, “The Dark Knight”
Dev Patel, “Slumdog Millionaire”

Analysis: A.K.A. the four actors who will be losing to Heath Ledger. Here's one case where it is actually just an honor to be nominated. If nothing else, Dev Patel will at least have a wild story to tell his friends. The only other outside possibility is Revolutionary Road's Michael Shannon but his buzz has completely died out.

Best Supporting Actress
Penelope Cruz, “Vicky Cristina Barcelona”
Viola Davis, “Doubt”
Taraji P. Henson, “The Curious Case of Benjamin Button”
Marisa Tomei, “The Wrestler”
Kate Winslet, “The Reader”

Analysis: No surprises here either. It's possible Doubt's Amy Adams or Rachel Getting Married's Rosemarie DeWitt could sneak in, but not very likely. A really thin category this year.

Best Original Screenplay
Mike Leigh, “Happy-Go-Lucky”
Dustin Lance Black, “Milk”
Woody Allen, “Vicky Cristina Barcelona”
Andrew Stanton and Jim Reardon, “WALL-E”
Robert D. Siegel, “The Wrestler”

Analysis: I'm not exactly sure how Dustin Lance Black's script for Milk is considered an "original" screenplay but it is, so therefore it'll be nominated (despite it being undeserving). Even scarier, it has a good chance of winning. I'll take it just so long as the film gets shut out of the Best Picture race.

Best Adapted Screenplay
Eric Roth, “The Curious Case of Benjamin Button”
John Patrick Shanley, “Doubt”
Peter Morgan, “Frost/Nixon”
David Hare, "The Reader"
Simon Beaufoy, "Slumdog Millionaire"

Analysis: Voters won't be able to think outside the box enough to be able to acknowledge The Dark Knight in this category. It'll get a the Best Pic nod and a handful of tecnical accolades but miss out here to more "literary" endevours like The Reader and Doubt.

Which 5 Films Will Be Nominated For Best Picture?

Doesn’t it seem like just yesterday that we were making jokes about milkshakes and pregnant teenagers? Here we go again. You may have noticed those pesky “FOR YOUR CONSIDERATION” banner ads popping up all over the place. As tough as it is to believe the announcements of this year’s Academy Award nominations are just over 2 months away (January 22nd to be exact), which means we’re just now entering the prime time for some HUGE releases vying for the top prize. This will continue non-stop until that date so it’s best to get used to the titles you see below because you're sure to be hearing a lot about them everywhere.

Last year’s Oscar telecast was one of the lowest rated in the Academy’s history and while the show was stacked with critical favorites, the films failed to resonate with the casual moviegoing public. The result: a painfully boring show. Thankfully, this year’s show looks more promising with big stars like Pitt, Jolie, DiCaprio and Eastwood (Clooney’s sitting this one out) and big movies that people may actually go out and see. The quality may or may not be there like it was in 2007 but anyone who expected families to gather around the TV last year to see the Academy honor dark art house films featuring priests being bludgeoned to death with bowling pins and high-pressure air gun murders were out of their minds. Fantastic films, but I understand why many didn’t tune in. That doesn’t look like it will be an issue this year and if a certain suspected win occurs in the Supporting Actor category we’re guaranteed at least one of the more emotional moments in recent Oscar memory.

Even better news for fans of The Dark Knight is that many of the potential contenders released in the fall (like Blindness, Burn After Reading, Changeling and Miracle At St. Anna) fell by the wayside and lost any buzz they may have had. Additionally, a few films with “Oscar” written all over them (like The Soloist and The Road) were surprisingly pushed to early next year. That clears the path a little but as you can see below it’s still going to be very, very tough for that film to hold on and make it to January. And that’s not even taking into account the Academy’s prejudices against the genre, the fact it’s a sequel, the film’s flaws and its summer release date. That’s a lot to overcome. But if just a few of the top contenders fail to register Christopher Nolan may be able to pick out a tux. Actually, he will anyway since the movie is pretty much guaranteed a bunch of technical nominations.

In breaking news, one sure thing The Dark Knight isn't being nominated for is Best Original Score. According to this article in Variety it's been disqualified. I can't comment as to whether the score is actually deserving since everyone in the theater was talking and I couldn't hear it, but I can state the reason for its exclusion (much like that of Jonny Greenwood's There Will Be Blood score last year) is completely insane.

All of this is a little silly to speculate on since most of these films haven’t been released yet. Below I list the top contenders and their chances based on the Academy’s preferences and other factors. This isn’t a discussion about which films are “the best five” since I haven’t seen most of them yet but an educated prediction on which way the Best Picture race will go based on the info we have and the Academy members’ voting history. And if you don’t see a film down there (hello, Twilight) it’s because I don’t think it has a snowball’s chance in hell of being nominated. Interestingly, in all the years I’ve picked my personal choice for best film of the year it wasn’t a Best Picture nominee, which either speaks poorly for my taste or theirs. My prediction for the five nominees is at the end.

WALL-E (opened June 27)-It’s encouraging news that the folks at Disney recently announced that they plan on pushing it for Best Picture, despite the existence of a separate Best Animated Film category. But sadly, this has no chance, despite the film containing the timeless themes voters love. It will hurt voters’ brains enough reaching back into the summer to consider The Dark Knight so this figuring into the Best Picture hunt is unlikely, especially since there's already another category honoring its contribution.

Wall-E's fate was sealed in 2001 when the Academy created the animated award, not to honor the genre, but blacklist those films from intruding in the "real" races. They’ll see its inevitable win in that joke of a category (which only features 2 other nominees) as good enough. What a shame. This deserves to compete for the big one.

The Dark Knight (opened July 18)- While I didn’t think it was the greatest film ever anointed on the human race like everyone else seemed to there’s no way I can name five movies better than it…at least so far. In fact, naming one would probably be a stretch. And it would be tough for me to tell anyone with a straight face that I thought it was worse than Juno or Michael Clayton (especially Juno). One of the more ridiculous complaints I’ve heard against nominating it is that it’s a “comic book movie.” Sorry, but this is in no way, shape or form a comic book movie. More reasonable is making a case that the film is too flawed. Strangely though, no one seems to be doing that.

Warner Brothers is pushing it hard and have set up a "For Your Consideration" site. I couldn’t help but laugh at some of it though. Pushing Maggie Gyllenhaal as Best Supporting Actress is funny but suggesting Christian Bale be nominated for Best Actor is flat-out hysterical. Sorry, but that was NOT an Oscar-worthy performance. While I wouldn’t go so far as to say the movie succeeded in spite of him, it was Ledger’s show all the way. Plus, do you really want Bale giving an acceptance speech in his deep, gravely “Batman voice?” What isn’t a joke is pushing Eckhart and Oldman in the supporting race. They were amazing and deserve serious consideration.

In about a month's time we’ll have a better idea where this stands but that it’s still being discussed is probably encouraging. The tragic circumstances involving Ledger and its box office take should keep it in the forefront of voters’ minds and it does contain the hefty themes they tend to like. In any event, I’d love to see how the Academy could justify not nominating what’s not just the second highest grossing film of all-time, but the best reviewed movie of the year. Desperate for ratings for the telecast they’ll likely cave in. Maybe not the best reason, but you can't look a gift horse in the mouth.

Milk (Nov. 26)- No, this isn’t a film exploring corruption in the dairy industry, but rather the story of Harvey Milk (Sean Penn), San Francisco’s first openly gay city supervisor assassinated in 1977. The Academy loves Penn, or at least I thought so until his Into the Wild was criminally snubbed in nearly every major category last year. But voters always preferred his acting to his directing and he’s a lock for a Best Actor nod here. How much further the film can go is questionable since they tend to overlook biopics for Best Picture unless it’s an exceptionally weak year (remember Ray), and it sure looks like it could be.

Working against the film could be that it lacks the warm, mainstream audience-friendly vibe of director Gus Vant’s only previous Best Picture nominee, Good Will Hunting and there's always the possibility its November release could cause it to peak early and fizzle, even if Penn’s performance doesn’t. Still, it wouldn’t surprise me at all if a timely film about a politician overcoming the odds slides in. It has a great chance. But there’s a better chance Josh Brolin will finally be recognized with a supporting actor nod after 2 straight years of tireless hard work in a wide variety of films. He might be our best un-nominated actor right now.

Australia (Nov. 26)- Since this is a Baz Luhrmann film people will either love it or hate it. There’s no in between. And since it stars Nicole Kidman critics and the media will try to cut its legs off before it even gets close to the Best Picture race. It could be terrible, but if it isn't would anyone have the guts to admit it? While the Academy loves big, sweeping epics l see this turning into more of a Romeo + Juliet than a Moulin Rouge! in that it has an enthusiastic cultish following, but doesn’t make a huge dent in the major award categories. Look for it to clean up in costume and production design.

Slumdog Millionaire (Nov. 27)-Truthfully, despite the strong buzz, I thought this was going to shape up to be just another little critical favorite that didn’t stand a chance until I read this synopsis on imdb:

“The story of Jamal Malik (Patel), an 18 year-old orphan from the slums of Mumbai, who is about to experience the biggest day of his life. With the whole nation watching, he is just one question away from winning a staggering 20 million rupees on India's "Who Wants To Be A Millionaire?" But when the show breaks for the night, police arrest him on suspicion of cheating; how could a street kid know so much? Desperate to prove his innocence, Jamal tells the story of his life in the slum where he and his brother grew up, of their adventures together on the road, of vicious encounters with local gangs, and of Latika (Pinto), the girl he loved and lost. Each chapter of his story reveals the key to the answer to one of the game show's questions.”

And they say there are no original ideas left in Hollywood. If it ends up being even half as good as that synopsis implies then watch out. Combine that with a director (Trainspotting’s Danny Boyle) long overdue to the Oscar party and we have a very serious contender. Voters always seem to find room for an indie, or even films just pretending to be one. And if that’s not enough it’s being distributed by Fox Searchlight (Little Miss Sunshine, Juno). This checks every box. In limited release now, but when it opens wider expect it to pick up massive momentum heading into December and January.

Frost/Nixon (Dec. 5)- In an election year the Academy will feel they have to nominate a political film and since Oliver Stone’s W. is too polarizing and controversial for them this fictionalized account of David Frost’s (Michael Sheen) TV interviews with Richard Nixon (Frank Langella) may be the perfect antidote. Still fuming after being passed over for his supporting turn as Skeletor in The Masters of the Universe, Langella aims to become the first actor to win an Oscar and a Tony for the same role.

I saw the trailer for this before W. and thought Langella’s take on the disgraced President looked goofy and cringe-inducing but I’m not about to judge a film based on a 2-minute clip. Or an unintentionally hilarious poster that misrepresents it as a campy 80's horror outing. Voters love Ron Howard and usually eat pseudo-historical stuff like this up, just as long as it’s directed by someone other than Stone.

The Reader (Dec. 10)- This is that OTHER Kate Winslet movie. Kate’s looking to pull a Cate from last year and pick up two nominations in two different acting categories with her supporting turn here as a Nazi war criminal hiding a scandalous secret. Given the dearth of contenders in that category every year it’s certainly possible, but Revolutionary Road is the Winslet movie to watch, not this one. All it does is clear the path for the more prestigious release because there won’t be enough room for both. If this film is even mildly successful all it will do is boost the prospects for her more anticipated project and put that in a better position come January. Winslet benefits, The Reader does not.

Doubt (Dec. 12)-Let’s just call this what it is: a vehicle for Meryl Streep to land her 500th Oscar nomination and nothing more. If she can be nominated for playing essentially a cartoon in The Devil Wears Prada voters will drool all of themselves with her turn as a nun. Oh, and Philip Seymour Hoffman will be losing to Heath…I mean nominated for Best Supporting Actor as well. But that’s it. This is an actor’s film, not a Best Picture nominee.

Gran Torino (Dec. 17)- Spike Lee may hate the 78-year-old Clint Eastwood but the Academy LOVES him. He could direct an episode of Sesame Street and they’d find a place for him on their ballots. Here he plays, an old, cranky Korean War vet who very reluctantly bonds with the Asian immigrant who tries to steal his ’72 Gran Torino.

If there’s one thing the Academy loves more than a film directed by or starring Eastwood, it’s a film directed by AND starring him. I predict he’ll win Best Actor for this because the Academy realizes the window is closing to honor him for his acting. He may get a director nod as well, but I just don’t get the impression it will be competing on the biggest stage. On paper it just doesn’t seem like it has that “big event feel” voters go for. So Eastwood will just have to settle, as if that’s settling. But it wins for most bad-ass poster. I love it. This is almost guaranteed to be nominated for SOMETHING.

The Wrestler (Dec. 17)-Oh, this is interesting. A low budget film without a distributor as recently as a couple of months ago has suddenly shot to the top of everyone’s Oscar prediction list. Hollywood still hates Mickey Rourke but they love a comeback story more. Barring any unforeseen circumstances, the inside track is on him being nominated but I just can’t see the stuffy Academy rewarding any film having to do with professional wrestling with a Best Picture nod, no matter how good it is. Then again, I suppose the same could be said about boxing…and that won. If any filmmaker can overcome the seemingly insurmountable odds it’s Darren Aronofsky so I’m curious how this turns out.

The Curious Case of Benjamin Button (Dec. 25)- YES! Could it be? Could a David Fincher’s film FINALLY be nominated for Best Picture? Could he finally get that long overdue Best Director nod? Based on F. Scott Fitzgerald’s short story of a man who ages backwards and starring likely lead actor nominee Brad Pitt, this is by far his best shot yet. Of all the movies on this list, this is the one I must want to see and it’s also the closest thing on here we have to a lock. It finds itself in the same comfy position as There Will Be Blood and Juno in that it’s being released in late December and hits wide in January. The studio didn’t just carelessly dump this in an Oscar dead zone like they did Fincher’s Zodiac last year. The Academy owes him a statue for that, The Game and Fight Club so it may be time to pay up. My expectations are through the roof for this.

Valkyrie (Dec. 26)-Don’t underestimate this Cruise guy. If anyone can make a story about a one-eyed Nazi plotting to assassinate Hitler work it’s him. This was actually pushed to early ’09 due to rumored production difficulties but was moved up again to capitalize on the goodwill surrounding Cruise’s performance in Tropic Thunder. Matt Lauer may have forgiven him for his loony antics but the Academy hasn’t… yet. This will do better than people think it will but no way will it be nominated for the top prize, or anything else for that matter. That it's directed by Bryan "Superman Returns" Singer doesn't help.

Revolutionary Road (Dec. 26)- Leonardo Dicaprio and Kate Winslet, the two stars of one of the most inexplicably reviled Best Picture winners in history are together again, this time as an unhappily married 1950’s couple who….um, honestly, I have no idea. I’ve read the synopsis of the film and I still couldn’t tell you what it’s actually ABOUT. It sounds like nothing happens at all. But that does that even matter to voters? They’ll see those two names and that of an Academy-Award winning director (Sam Mendes) not even bother watching the screener (it’s probably too long for them anyway) and vote for it. It’s about as safe a pick as there is and they can go to their cocktail parties telling everyone what a masterpiece it was. You have to give Kate and Leo though. They could have quickly sold out and reunited onscreen years ago but they waited over 10 years for the right project to come along. That makes me think it’s very good. And it could be the movie that finally nabs Winslet the gold.

Defiance (Dec. 31)-Here’s a case where having Daniel Craig in your movie really hurts and you pay the price during Oscar season. Coming a month after Quantum of Solace everyone will have Bond hangovers. And even though it covers dark, historical territory the Academy often rewards (anti-semitism), the field is just too crowded for this to make any kind of splash. It’s also directed by Edward Zwick (Blood Diamond) who has a gift for somehow turning deadly serious topics into mainstream, popcorn fare. There’s nothing wrong with that, but it never plays well with voters. The Zwick we have today is not the same one who directed Glory.
Don’t expect much.

My Prediction:
The Curious Case of Benjamin Button
The Dark Knight
Milk
Revolutionary Road
Slumdog Millionaire