ONE DAY

Written by David Nicholls

Directed by Lone Scherfig

Starring Anne Hathaway, Jim Sturgess and Patricia Clarkson

Emma: I thought I'd make a difference but no one knows I'm here

Some connections are instantaneous while others can take years to come together. When it comes to love, there is no simple formula. When it comes to director, Lone Scherfig’s ONE DAY though, it’s all about formula and fortunately, it is mostly a winning one. Scherfig follows up the brilliantly understated, AN EDUCATION, with an adaptation of David Nicholls’ best-seller of the same name, which checks in with Emma and Dexter (Anne Hathaway and Jim Sturgess) on the 15th of July every year for twenty years. Neither love nor life come easily to this pair and watching them grow in glimpses over the years reminds us how quickly everything can slip away if we aren’t careful. Scherfig’s gentle hand allows this high concept picture to transcend gimmick, and Hathaway’s shoddy British accent, to reveal genuine emotion and inspire some pretty real sentiment as well.

By dropping in on this couple but one day a year, Scherfig could have had something terribly predictable and monotonous on her hands. Fortunately though, the much loved novel’s author is also behind the screenplay. As a result, Scherfig has the right material in front of her to balance the mundane and the monumental that is inherent in this premise. Some days go by without anything really happening at all but that’s life. There are some days even when Emma and Dexter don’t even spend July 15th together, as their lives have taken them on very different paths. The very first 15th of July we spend with them is the night of their college graduation. They barely know each other and end up in bed together but nothing happens other than of course the beginning of something beautiful. As the years go by, they each go up and down in mood and success at different times from each other, and both Hathaway and Sturgess are given the chance to grow in front of us. These young talents take on the challenge of spanning two decades and each matures as an actor in the process. By the time the end of the second decade approaches, their understanding of themselves and each other is both impressive and admirable.

The title, ONE DAY, alludes to the structure of the plot but thanks to the yearning for closeness and longing for happiness that Scherfig weaves into this picture, it touches on something far more insightful as well. As each day and each year passes without settling or success, Emma and Dexter strive toward that time in their lives when they will feel complete, whole. They work toward that one day when everything will inevitably fall into place. And while that day may not exist for all or at all, for that matter, ONE DAY will have you believing that it is still coming.

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Black Sheep presents Blu-Tuesday

Two giant holiday releases from last year make their way to homes everywhere this week.  It should be a pretty insane sales week, what with these titles and Easter coming up this weekend.  The reigning sales champ is THE TWILIGHT SAGA: NEW MOON.  The set sold 4 million plus units in its first week of release, 17% of which came from BD sales.  Somehow though, on the rental side of the board, the whiny little vampire folk only managed a second place debut.  Second place is none too shabby considering the film only came out on the Saturday of that week, giving it only two days to qualify.  Still, it lost the crown to DID YOU HEAR ABOUT THE MORGANS?  That's got to be a pain in the neck

Here are this week's biggest BD releases ...

SHERLOCK HOLMES
The good folks at Warner Bros. sent me over a copy of this Guy Ritchie hit from 2009.  I caught the SHERLOCK HOLMES in theatres and, at the time, thought it was somewhat overly complicated but still a good thrill ride nonetheless.  Holmes is supposed to be some sort of super detective genius and, while his genius as channeled through the further genius of Robert Downey Jr., provides wit so quick, it can be tricky to keep up with, it also alienates the viewer from figuring out any part of the mystery themselves.  I like to have a fighting chance as someone watching to figure out what is going on.  Still, in my living room, the exquisite sets and art direction are something to behold and the thrills are still there.  BD extras include a full picture in picture tour from Ritchie and look for Downey Jr. himself to join in a community screening of the film through BD live options, this Thursday, April 1, at 9:00 PM, EST.

ALVIN AND THE CHIPMUNKS: THE SQUEAKQUEL
Every time I have to type the word "squeakquel", I want to vomit a little.  This juggernaut of a family film did even better business than its predecessor and not surprisingly will be followed up with a third film in 3D.  I'm not sure what the appeal is for children.  This isn't exactly a well-known brand to this generation, or at least it wasn't before the first film came out.  Yet still, the kids seem to be eating up just as quick as these little rodents are eating up their own poo.  BD extras, so you can be sure to really get your chipmunk on, include plenty of interactive games and sing-a-long's for your kids to drive you insane with all throughout Easter weekend.

AN EDUCATION
Now this is where my money is going this week.  Lone Scherfig's Oscar-nominated film is an elegant and tasteful experience but it is also a telling lesson that all should learn.  I intend to learn my lesson again in my Sunday best with tea and scones just to make sure I do it right.  I should be careful though; I don't want to give the impression that AN EDUCATION is a snotty film.  It is quite the opposite.  The brilliant cast, led by the enchanting Carey Mulligan, paint a beautiful portrait of what it was like to be a girl in 1960's Britain.  Author, Nick Hornby's first screenplay is so subtle and so insightful that you don't even realize how much you're being schooled until it's done.  You will not want to miss this class.  BD extras include commentary with director, Scherfug, Mulligan and co-star, Peter Saarsgard.

SOURCES: BLU-RAY.COM    ROTTEN TOMATOES

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Shearing the Oscars: Best Actress

I'd best start by sharing some love on this, the day devoted to the subject. It would be necessary to do so simply because I will need the reminder after I get done with this piece.

This year's Best Actress Oscar race is not so much a puzzle to me as it an infuriating farce that exposes the emptiness of the Academy Awards. Sandra Bullock is the front runner for her work in THE BLIND SIDE. I don't mean to be hurtful. I saw the movie; I thought she was good in it but Oscar good? Please. Of course not, but she has had a really good year and has done so many great things for the box office over the years. Her top competition is Meryl Streep for her work in JULIE & JULIA. Streep has scored a record breaking 16 nominations with this last one but hasn't won since 1983. Naturally, we have to throw her something as some point. At least Streep's performance is Oscar worthy but what I don't understand is why the headlines don't read, "It's Down to Sidibe and Mulligan!"

Here are the nominees for Best Actress ...

SANDRA BULLOCK as Leigh Anne Tuohy in THE BLIND SIDE


I am not going to just denounce Bullock's nomination here. I didn't mind John Lee Hancock's THE BLIND SIDE. It was certainly designed to be satisfying but it accomplished its goals. Bullock carries the weight of the film on her shoulders and does it with strength and attitude to spare. She is also written in such a saintly manner that her character comes off as too perfect to be actually human. The fact is that Bullock has the nomination and the edge to win because she is well liked in Hollywood and Hollywood enjoys rewarding contribution over performance from time to time. Remember Julia Roberts in ERIN BROCKOVICH?

HELEN MIRREN as Countess Sofya in THE LAST STATION


At 64 years of age, this is Helen Mirren's fourth Oscar nomination. She won in this exact category in 2006 for her work in THE QUEEN. She returns now by portraying another famous historical figure, Countess Sofya, wife of Russian author, Leo Tolstoy, in Michael Hoffman's THE LAST STATION. Whereas her work in THE QUEEN had to be spot on given people's familiarity with the subject but, with little existing footage of Countess Sofya, Mirren had to create a character rather than recreate. This role is just not loud enough in a year like this one and I'm pretty sure Mirren knows it.

CAREY MULLIGAN as Jenny in AN EDUCATION


I am convinced that Carey Mulligan is going to be around for a long time and seen as one of the next generation's greatest actresses. In Lone Scherfig's brilliant, AN EDUCATION, she plays Jenny, a teenage girl of excessive intelligence and discipline who longs to let her passion run free. The range of Jenny's journey requires Mulligan to balance the many faces of this teenage girl - the good student, the perfect daughter, the virgin girlfriend to a man ten years her senior and of course the woman she so hurriedly wants to be. The National Board of Review and the Toronto Film Critics Association threw their support behind Mulligan but the film just never caught on like it should have.

GABOUREY SIDIBE as Clareece "Precious" Jones in PRECIOUS


I'm sure I've said this before but it bears repeating; I was completely floored when I met Gabourey Sidibe in person this past fall at a roundtable with her and PRECIOUS director, Lee Daniels. Ignorantly, I expected her to be much like the damaged, frightened, introvert she played in the film but she is the complete opposite. Beforehand, I did not think her performance was much of a stretch from who she had to be in reality. How could it be? Yet somehow, this bubbly, outspoken young lady found a pain so dark that everything she actually is is swallowed up by Precious. Sidibe was honoured by the National Board of Review but most of the film's award focus goes to co-star, Mo'Nique. Sidibe deserves this but will have to hope Streep and Bullock cancel each other out.

MERYL STREEP as Julia Child in JULIE & JULIA


When I mentioned that Streep broke a record this year with her 16th nomination for JULIE & JULIA, I neglected to mention that it was her own record of most career nods she broke. There is no question that Streep gives everything every time she goes out there (almost, anyway) and not having been rewarded by the Academy since 1983 seems unacceptable but why can't we remember that we should be honouring individual performances and not bodies of work. That said, I would much rather watch Streep take this than see Bullock get it for just putting in the time. Unfortunately, with the Screen Actors Guild in Bullock's camp, it might be tricky.

WHO WILL WIN? Sandra Bullock

WHO COULD STILL UPSET? Gabourey Sidibe

Next up in Black Sheep's Oscar coverage, we give you a guide to what nominated films are still playing in theatres out there and what you need to make sure you need covered before Oscar night.

Again, before I go, much love to all the Black Sheep readers!

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Shearing the Oscars: Best Picture

The nominations for the 82nd annual Academy Awards were announced this past week and, if you care about the Oscars at all, you likely knew already that they were to be expanding their Best Picture category from five to ten slots. It may have been a thinly veiled attempt to ensure the telecast audience grows this year by embracing a wider array of films but did it work? My guess, based on the support the films reached in other categories and the feelings I'm getting in my stomach, I would venture that had the Academy stuck with five nominees, they would look a little something like this:

AVATAR
THE HURT LOCKER
INGLOURIOUS BASTERDS
PRECIOUS
UP IN THE AIR

I would have been satisfied with that, even with AVATAR being included. Thanks to the new rules though, the following films get to bask in Oscar glory as well:

THE BLIND SIDE
DISTRICT 9
AN EDUCATION
A SERIOUS MAN
UP

All, save for one, which I will allow you to figure out all by yourself, are well deserving. So, it would appear, that Oscar did good so far and their future bodes well. I'm still back and forth on the move though. On the one hand, I feel that honouring ten films better encompasses all genres and audiences. On the other, I feel it cheapens the recognition itself. While I am torn on this point, I am decisively upset with the media for how they've handled the whole thing. The Academy goes out of its way to reach a wider audience and honour more films and what do you do? You whittle the list down to a mere two entries, suggesting this biblical David vs. Goliath cage match between THE HURT LOCKER and AVATAR, as though none of the other films stand any chance. I understand that frontrunners exist but to be fair, INGLOURIOUS BASTERDS has eight nominations in total, only one less than the big two. UP IN THE AIR has already won plenty of top prizes during awards season too. Even PRECIOUS, whose buzz died off long ago, still has Oprah behind it. If she can get a president elected, she can get a measly, little Oscar.

And so, in the interest of actually considering all ten nominated films instead of writing them off immediately after they were announced, Black Sheep will break down the nominations for Best Picture, one by one, beginning with ...

AVATAR

Do I believe AVATAR has an excellent chance of winning Best Picture? Yes, it does. Do I believe it should win? Of course not. The entire world has been swept up in the incredible spell AVATAR has cast on filmgoing audiences. Do I believe it warrants its nomination? Yes, I do. Any film that wows and inspires as many people as this one has, deserves to honoured as one of the best pictures of the year. An exciting adventure doesn't always make for an incredible film though. Director James Cameron's screenplay is unoriginal and obvious and the acting is uneven at best. Sure, I had a good time watching AVATAR but nothing other than that has stayed with me. A Best Picture winner should be timeless.

THE BLIND SIDE

I swore I would never see this movie when I first saw the preview and I finally had to cave last weekend because it was becoming pretty clear that Sandra Bullock was going to score a Best Actress nomination for her work in it. She did just that and, in another beguiling sign that she has a very good shot at winning that award, she also inspired enough love to elevate the film itself into the Best Picture race. Clearly, I had very low expectations for THE BLIND SIDE but I was pleasantly surprised. By that, I mean, it was alright. Alright should not be nominated for Best Picture, let alone win, and, in this case, it won't.

DISTRICT 9

I don't think DISTRICT 9 has any genuine chance of winning this award but the fact that it's here speaks to how much unexpected impact it had on those who saw it, including myself. (DISTRICT 9 is nominated for Best Picture at Black Sheep's Mouton d'Or Awards this year as well.) The Academy also showered the film with love for its elaborate and imaginative screenplay as well as its very real visual effects and intense editing style. Stealing an editing slot from bigger fish, UP IN THE AIR, suggests that its chances are stronger than I think they are but if a piece of science-fiction is going to win this year, it will be for bluer aliens than these.

AN EDUCATION

As AN EDUCATION too earned a Mouton d'Or nomination for Best Picture this year, it is clearly a favorite of mine and I am thrilled to see it make the final cut, alongside the brilliant Nick Hornby screenplay and the breathtaking performance by Carey Mulligan. This film has a much better chance of winning overseas at the BAFTA's though than in Hollywood. It is one of the nominated films that stands a good chance to see its box office receipts increase now but that is only because it has not been seen by many at all. (It has earned less than all of the other nominated films in this category.) It's lack of exposure will ultimately cripple it.

THE HURT LOCKER

This Kathryn Bigelow picture has only made a few million dollars more than AN EDUCATION but has been lauded as the Best Picture of the year by critics almost universally. And now that it is available to rent, interest in the film has, uh, exploded, if you will. Critical darlings don't always take the big prize and God knows war-themed pictures have struggled hard for years now but THE HURT LOCKER has the potential to transcend that. It will reach an audience now that it may never have without this recognition and that audience will be shaken by its overpowering tension. They won't know what hit them and if the HURT LOCKER Oscar campaign doesn't trip any major wires before the big night, the rest of the nominees won't know what hit them either.

Black Sheep's breakdown of the Best Picture nominees continues tomorrow with INGLOURIOUS BASTERDS, PRECIOUS, A SERIOUS MAN, UP and UP IN THE AIR.

In the meantime, what do you think? Is it really just a race between AVATAR and THE HURT LOCKER? If it is, was it worth expanding the list to begin with? Black Sheep wants to know what you think!

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THE 2009 MOUTON D'OR AWARD NOMINATIONS

UP IN THE AIR leads Black Sheep Reviews' 2009 Mouton d'Or Award nominations with a total of seven, including one for Best Picture. Fellow Best Picture nominee, DISTRICT 9 follows with five nods. UP! also earns five nods but misses out on a Best Picture shot. PRECIOUS, AN EDUCATION and (500) DAYS OF SUMMER round out this year's list of contenders for the top prize, each scoring four nods. The Best Picture race this year is one that is particularly meaningful to me. Together, the five films define the year in film for me, as they should. Each one left a distinct mark on me and each one would go on to be more than just a movie but also a memory of my life.

There is one change to the Mouton d'Or Awards this year ... The technical awards have been dumbed down simply because I don't feel technical enough to make any judgment. So instead of having specific awards for editing, cinematography or art direction, there is just one award now called, Best Looking Movie.

This is also the second year for the Black Sheep Reader's Choice Award. Another six films have been culminated from your submissions for Best Film of 2009 and over the course of the next few weeks, you can vote for your favorite of the favorites by completing the Black Sheep poll near the top right of the page.

The winners of the Mouton d'Or Awards will be announced on Saturday, March 6. Without any further delay, I am proud to present to you the Black Sheep Reviews' 2009 Mouton d'Or Award nominations ...

(Click any highlighted title to read the original Black Sheep review)


BEST BIG MOVIE

AVATAR
DISTRICT 9
STAR TREK
UP!
WHERE THE WILD THINGS ARE


BEST LITTLE MOVIE

(500) DAYS OF SUMMER
THE GIRLFRIEND EXPERIENCE
THE HURT LOCKER
J'AI TUE MA MERE
SIN NOMBRE


THE WORST MOVIE I SAW ALL YEAR

THE FINAL DESTINATION
THE LAST HOUSE ON THE LEFT
THE LOVELY BONES
OBSERVE AND REPORT
THE TWILIGHT SAGA: NEW MOON


BLACK SHEEP READER'S CHOICE AWARD

(500) DAYS OF SUMMER
AVATAR
DISTRICT 9
INGLORIOUS BASTERDS
UP!
UP IN THE AIR


THE TREVOR ADAMS ANIMATED FEATURE AWARD

CLOUDY WITH A CHANCE OF MEATBALLS
CORALINE
FANTASTIC MR. FOX
PONYO
UP!


BEST LOOKING MOVIE

AVATAR
DISTRICT 9
THE HURT LOCKER
INGLORIOUS BASTERDS
WHERE THE WILD THINGS ARE


BEST MUSIC IN A MOVIE

FANTASTIC MR. FOX
NINE
A SINGLE MAN
UP!
WHERE THE WILD THINGS ARE


BEST SUPPORTING ACTOR

MATT DAMON in INVICTUS
ALFRED MOLINA in AN EDUCATION
CHRISTOPHER PLUMMER in THE LAST STATION
STANLEY TUCCI in THE LOVELY BONES
CHRISTOPH WALTZ in INGLORIOUS BASTERDS


BEST SUPPORTING ACTRESS

MARION COTILLARD in NINE
VERA FARMIGA in UP IN THE AIR
ANNA KENDRICK in UP IN THE AIR
MO'NIQUE in PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
JULIANNE MOORE in A SINGLE MAN


BEST ORIGINAL SCREENPLAY

(500) DAYS OF SUMMER written by SCOTT NEUSTADTER and MICHAEL H. WEBER
THE HURT LOCKER written by MARK BOAL
INGLORIOUS BASTERDS written by QUENTIN TARANTINO
A SERIOUS MAN written by JOEL COEN and ETHAN COEN
UP! written by BOB PETERSON and PETE DOCTER


BEST ADAPTED SCREENPLAY

DISTRICT 9 written by NEILL BLOMKAMP and TERRI TATCHELL
AN EDUCATION written by NICK HORNBY
FANTASTIC MR. FOX written by WES ANDERSON and NOAH BAUMBACH
A SINGLE MAN written by TOM FORD and DAVID SCEARCE
UP IN THE AIR written by JASON REITMAN and SHELDON TURNER


BEST ACTOR

JEFF BRIDGES in CRAZY HEART
GEORGE CLOONEY in UP IN THE AIR
COLIN FIRTH in A SINGLE MAN
MORGAN FREEMAN in INVICTUS
MICHAEL STUHLBARG in A SERIOUS MAN


BEST ACTRESS

HELEN MIRREN in THE LAST STATION
CAREY MULLIGAN in AN EDUCATION
MAYA RUDOLPH in AWAY WE GO
GABOUREY SIDIBE in PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
MERYL STREEP in JULIE & JULIA


BEST DIRECTOR

KATHRYN BIGELOW for THE HURT LOCKER
JAMES CAMERON for AVATAR
JOEL COEN and ETHAN COEN for A SERIOUS MAN
LEE DANIELS for PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
JASON REITMAN for UP IN THE AIR


BEST PICTURE

(500) DAYS OF SUMMER
DISTRICT 9
AN EDUCATION
PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
UP IN THE AIR

It's been a good year!

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Black Sheep's Top 10 of 2009

I sit before my computer on the last day of 2009. In a matter of hours, there will be so much going on that I will not be able find two minutes together to accomplish anything really so it's best that I get this done now, when I can give it the attention it truly deserves. 2009 was a great year for me and the movies. Early on in the year, I began publishing a regular monthly column on The Movie Network's "Movie Entertainment" magazine's website and it has since been picked up by The Movie Network itself. In April, I attended the Tribeca Film Festival for the first time and ended up meeting and interviewing one of my favorite director's, Steven Soderbergh. My interview with him about THE GIRLFRIEND EXPERIENCE would go on to be published on CBC's website. In May, I left my day job and prepared to move to Toronto, which I did in July. The summer was a great time to be unemployed and I managed to sustain myself on zero incoming cash until just after the Toronto International Film Festival. This year, I saw nearly 20 films at the festival, compared to a scant five the year before. I also had the chance to sit and interview the star and director of this year's indie success, PRECIOUS. I have had to return to working my day job now but 2010 awaits and I'm closer now than ever before.

Alright, so that's me. Now what about the movies? I knew all year that I was going to be leaving my day job at some point so I was able to get excited about a lot of the movies that were coming out this year. And a lot of them did not disappoint. As per usual, my full list of best performances and films will be coming soon with the announcement of the Mouton d'Or awards in January but the following is my Top 10 films of 2009, in alphabetical order. Even as I write these very words to you, I have a short list of eleven titles and I'm still not sure what will make it and what won't. The suspense is killing me! Anyway, here goes ... (click on any title for the full Black Sheep review)


(500) DAYS OF SUMMER
Directed by Marc Webb


I've seen this film three times and it makes me smile and feel good about everything every time. This anti-love story is so infectious and so enchanting that it somehow ignites my personal quest for love while simultaneously breaking down all the myths about love I've subscribed to all these years. The adorable Joseph Gordon-Levitt and Zooey Deschanel are the cutest couple of the year!


DISTRICT 9
Directed by Neil Blomkamp


When I first saw this film, I was floored. It was original; it was exciting; I was completely convinced that South Africa had been overrun with alien life. It isn't every day that you catch a film that is visually remarkable, action packed and socially conscious at the same time with absolutely no trace of compromise. I was also pretty floored because the moment it ended, I knew it was going to find its way on this list.


AN EDUCATION
Directed by Lone Scherfig


This film was the toast of TIFF and I could not get in no matter how hard I tried. It was well worth the wait. Its classic style and subtle screenplay brought new perspective to the feminist plight. Star, Carey Mulligan carries the ecstasy of a first love with the jubilance of a little girl and the weight of the consequences to dating an older man with grace and restraint. I for one definitely felt like I learnt something.


FANTASTIC MR. FOX
Directed by Wes Anderson


Wes Anderson is a particular taste and I was thrilled to see that taste make a successful transition into the realm of animation. Watching this adaptation of the Roald Dahl classic is a constant delight. It truly digs its own path, striking the perfect balance between adult insight and childlike excitement throughout. In a world where Pixar owns the monopoly on satisfying adult animation (and rightfully so), it is refreshing to see that others out there can not only pull it off too but bring something new as well.


THE HURT LOCKER
Directed by Kathryn Bigelow


By now, you've no doubt seen this film on every Top 10 list in the world. It is an obvious choice but it is also the right choice. Bigelow managed to craft a highly explosive film about trying to make sure bombs don't go off. The film is naturally tense but all the more so because Bigelow sneaks us into this military bomb squad in Iraq by shooting from as many different perspectives as possible. Perhaps this is why it is the least judgmental Iraq war film to date.


PRECIOUS: BASED ON THE NOVEL "PUSH" BY SAPPHIRE
Directed by Lee Daniels


From a filmmaking perspective, this one is certainly uneven at times but its boldness is so striking that it certainly earns its place amongst the best of the year. This story of a young woman, overweight, pregnant, illiterate and abused, is the most unlikely of success stories. It is fueled by some of the most brave performances of the year from one of the most eclectic casts of the year. It is Daniels though who deserves the biggest applause here for getting people to stop ignoring this girl and see her for who she is inside.


A SERIOUS MAN
Directed by Joel and Ethan Coen


Who knew that the Coen Brothers could get so personal and still feel completely disassociated? Michael Stuhlbarg's incredible performance as Larry Gopnick allows this tale of misfortune to transcend its Jewish roots and become a tale for unlucky folks everywhere. Watching his life is like watching a train wreck just get worse and worse but somehow all the while, thanks to that special Coen touch, deep, genuine sympathy is inspired aplenty.


SIN NOMBRE
Directed by Cory Fukunaga


I cannot say enough good things about this first feature from Cory Fukunaga. Two complete strangers end up on the same journey to cross the Mexican border into the United States and neither their lives nor ours are the same for having the experience. Each of their characters is going through their own individual struggles but the solace they find in each other makes every hardship they suffer worth it. Fukunaga is a bold new voice.


A SINGLE MAN
Directed by Tom Ford


Fashion designer, Tom Ford's directorial debut, is just plain stunning. It's 1960's design is authentic and exquisite and the performances from Colin Firth and Julianne Moore are fresh and exciting for each of them. By adapting Christopher Isherwood's novel of the same name about a man coping with the death of his longtime lover in a world that doesn't acknowledge that love, Ford has made more than a film; he has also made a very compelling argument for gay marriage and the rights that should be afforded gay men and women everywhere. And naturally, he did it in style.


UP IN THE AIR
Directed by Jason Reitman


Films that are decidedly adult in theme and tone have struggled recently to connect with audiences but this one is so perfectly executed that it is not only reaching its audience but going far beyond it. The zeitgeist factors in this film, from the crumbling economic backdrop to the increasingly guarded approach towards love and human interaction, make it easy for most to identify with it. The entire cast (George Clooney, Vera Farmiga and Anna Kendrick) is lovely; the tone is respectful; and thanks to Reitman, the whole thing soars.


HONOURABLE MENTION: HUNGER
Directed by Steve McQueen


OK, so I found a way to cheat the Top 10. Don't hate on me. I did not include this film in the actual Top 10 as it is considered a 2008 entry but as it did not play in Canada until this year, it warrants mentioning. This 2008 festival favorite went unnoticed in North American cinemas this past spring but that doesn't shock me. Hunger strikes and graphic prison violence are not exactly crowd pleasers. If you are up for it, you must see this film. It will turn your stomach but it will furiously turn the wheels of your mind as well.

There you have it folks. These were my favorite films from 2009. Here is to an excellent 2010!

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Black Sheep @ The Box Office: The Saw Is Finally Dull

It may not be too fair to say so but it would seem that the SAW series has finally warn out its welcome. Ordinarily, it isn't Halloween if it isn't SAW but the sixth installment of the consistently successful franchise pulled in less than half of what the fifth film did. The reason I say it may not be fair to send SAW to the grave just yet is because the SAW series has never had a force as monumental as PARANORMAL ACTIVITY to deal with in past years. This phenomenon added over 1100 screens this week and saw its earnings increase another 12% for a first place finish six weeks after its initial release. With Halloween coming next week, there is no question that the film will continue to haunt minds and multiplexes for at least the next little while.


Last week's champ, WHERE THE WILD THINGS ARE, suffered a non-too-surprising 55% drop, suggesting that fans have come and gone already and that it doesn't have the legs to really let loose. Still, it was the top family draw this weekend as audiences showed little interest in the animated big screen adaptation of ASTRO BOY, which landed hard in sixth place. That landing is nothing compared to the nosedive crash of AMELIA. The Hilary Swank Oscar bait missed out on the Top 10 entirely, coming in 11th place, with just over $4 million. Other notable films this week include continued success for the Coen Brothers' A SERIOUS MAN (12th place finish with a 34% increase), Chris Rock's documentary, GOOD HAIR (pulling in over $1 million on 460 screens), the delicate and lovely AN EDUCATION ($13K per screen average, more than any other film in release) and the not to be missed, THE DAMNED UNITED (115% increase on 36 screens). Finally, Lars Von Trier's latest, ANTICHRIST, debuted to an average of $12K per screen on just six screens and will expand next week. Speaking of which ...

NEXT WEEK: Nobody wants to get in the way of the king ... Michael Jackson's THIS IS IT is the only major release next week, hitting 3400 screens on Wednesday for a limited time. I don't know about you but I am very curious to see if this is really it finally.

SOURCE: Box Office Mojo

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AN EDUCATION

Written by Nick Hornby
Directed by Lone Scherfig
Starring Carey Mulligan, Peter Sarsgaard, Alfred Molina and Emma Thompson


Jenny: All that poetry and all those songs for something that doesn’t last long at all.

For a young lady in the 1960’s, options were slim. Girls went to school to learn about Latin and literature but also, and perhaps more importantly, to learn about posture and poise. Educated or not, a lady must be proper first and foremost and able to provide for her man as he sees fit. And if one of these fine girls also happened to show academic promise, then she could push herself as hard as possible to go on to higher learning. Unfortunately, all that would be waiting for her on the other side would be marriage or maybe a teaching job. There is really nothing wrong with either of those options but it does seem an awful lot of work to get there and one wonders why go through all the trouble. The understated beauty of Lone Scherfig’s AN EDUCATION is how it allows for life to do what it will regardless of chosen paths, schooling its characters and subsequently enlightening its audience.


Jenny (Carey Mulligan) is but 16. She is the only girl in her classes who seems to get anything at all and it isn’t long before she starts to see through it all. One day, while she waits for a ride in the rain, a strange yet handsome man of nearly twice her age (Peter Sarsgaard) pulls up alongside her to offer her a lift. He is witty and charming and their chemistry is almost instantly perfect. When she accepts his offer, she essentially goes against the number one rule enforced by all parents – never get in a strange man’s car. Naturally, it feels terribly wrong. Given his age, what could he possibly want from this girl? Still, he is dapper and has a wonderful way about himself. Mulligan is boisterous and beautiful in this breakout performance, one that will certainly get her some well deserved notice. And of course, Sarsgaard is easily likable as her suitor, David. Together, they just click and before long, the initial hesitation is set aside so that their love can be given a shot.


Natural reticence is part of what makes AN EDUCATION such an engaging experience. Jenny is precious. She has great potential and parents (Alfred Molina and Cara Seymour) that, while strict, clearly hold her in the highest regard. And yet still, these educated people allow David to breeze into their home with his dashing good looks and pockets full of money and make them completely ignore his age and his intentions for their daughter. Her father will not allow her to enjoy anything on her own that doesn’t directly enhance her scholastic education but when a handsome man comes knocking, it would seem that marrying his daughter off, especially to someone so well to do, is a lot more affordable than sending her to Oxford. At the same time, Jenny is completely taken with the life of fancy that David offers and begins to see how being taken care of can be a lot easier than taking care of yourself.


Nick Hornby’s elegant screenplay poses a very familiar dilemma to the audience. What is more valuable – a formal and well rounded education in a class room or the kind of learning that only comes when experiencing life outside of the classroom? What makes this simple question so complex in AN EDUCATION is that it constantly forces you to reevaluate where you stand on the subject, subsequently reminding you that nothing is as simple as you think when love is involved. I learned a thing or two myself while I sat back and absorbed this masterful picture. The main lesson? AN EDUCATION, both the film and the arduous right of passage, are both well worth the time.

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