Liz's blog

Academy Awards nominees, 2012

It’s that time of the year again! Here are my comments on this year’s Oscar nominees (the 2011 post is here).

Best Picture
The Artist
The Descendants
Extremely Loud & Incredibly Close
The Help
Hugo
Midnight in Paris
Moneyball
The Tree of Life
War Horse

The Artist has been the clear contender for this category for a long time now and will probably win the coveted prize. Well done for them! And the Weinstein Company shall rejoice for having grabbed this gem before anyone else. Regardless, it is a deserving winner, so no more Weinstein-related grumpery from my part!
There’s always that tiny little doubt that Hugo may pull an upset, much like the Departed did a few years ago. Although it grabbed more nominations than the Artist, it still won’t win the prize: the numerical advantage is nothing if the film isn’t nominated in the main categories, and Hugo isn’t. Hugo strikes me as the kind of film that is revered and beloved by the Academy but simply hasn’t got the momentum to actually win. Same goes for the Descendants, which I look forward to seeing. As for the other nominees, the sheer inclusion of Extremely Loud & Incredibly Close, a Scott Rudin-produced, Stephen Daldry-directed Oscar vehicle, says it all really. I’m sure it is a good film, but I am also sure it was included because Rudin and Daldry have all the right friends at the Academy. The nod for the Tree of Life is welcomed though, if only for getting the recognition it finally deserves. Midnight in Paris and Moneyball are also two worthy nominees. As for War Horse, I haven’t seen it, but its early Oscar buzz might have killed its chances, oddly enough. The kind of anticipation generated by a filmmaker like Steve Spielberg is both a blessing and a curse. ALSO, the Help looks desperately tiny in this category of heavyweights.
And somehow people were still hoping that Harry Potter and the Deathly Hallows, Part 2 was going to make it to that category, as it is the last of the HP saga, but it really isn’t Oscar material and shouldn’t be.

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2011 review

Here is my top 15 for the best films of 2011 (the list from last year is here):

1. The Tree of Life, directed by Terrence Malick
2. Drive, directed by Nicolas Winding Refn
3. Hugo, directed by Martin Scorsese
4. The Artist, directed by Michel Hazavinicius
5. Midnight in Paris, directed by Woody Allen
6. The Ides of March, directed by George Clooney
7. Source Code, directed by Duncan Jones
8. Black Swan, directed by Darren Aronofsky / True Grit, directed by the Coen brothers
9. The King’s Speech, directed by David Hooper
10. Moneyball, directed by Bennett Miller
11. Contagion, directed by Steven Soderbergh
12. Never Let Me Go, directed by Mark Romanek
13. Rise of the Planet of the Apes, directed by Rupert Wyatt / The Adventures of Tintin, directed by Steven Spielberg
14. Harry Potter and the Deathly Hallows: Part 2, directed by David Yates
15. Carnage, directed by Roman Polanski

Honorable mentions: The Adjustment Bureau, Super 8, The Debt.

So yep. I’ve already reviewed most of these films so I won’t repeat myself but… I don’t think any film has made more of an impression on me than Terrence Malick’s The Tree of Life this year. Just the sheer beauty of it but not just. It’s mostly that incredible, tangible way it connects with our experiences and our memories. So many people have called it prententious and unintelligible and god knows what. Yet I still want to believe that Malick was trying to genuinely share something with us, perhaps a recollection of his own childhood amidst wider and more philosophical reflections. I mean, it’s almost like everyone was too focused on the dinosaurs and the creation of the universe to mention that ultimately this is the story of a family, the story of a childhood and… I’ve never, ever seen a childhood depicted with such accuracy and poetry as that. To create that kind of intimacy with the viewers with just a camera is really… it’s almost a miracle and yet Terrence Malick (and DoP Lubezki, let’s not forget that) pulled it off, in a manner that seems so effortless and instinctive. It really is a directorial achievement. Of course it’s not a movie you would watch with friends on a Saturday evening -or watch and watch again, but does it really matter? What matters is the emotions, the instantaneity of it, the way it addresses each viewer’s personal issues and in that particular case, memories. I really do think that’s what makes the Tree of Life such an experience. It’s that same surreal, subjective flow of emotions that emanates from Days of Heaven in my opinion. No film comes any close to the Tree of Life this year in terms of aesthetics, that’s true, but also in terms of raw emotions and poignancy.

My second pick is Nicolas Winding Refn’s Drive. I’ve reviewed it already but there’s just something very incredibly refreshing about seeing a film like Drive nowadays -which despite its violence and the ‘shock value’ of it, still manages to convey a lot without too many dialogue or cumbersome  subplots. I’ve seen it twice and enjoyed it thoroughly the second time (always a good indication), and there’s an unconventional aspect to it which sets it apart from other films, too. I disagree with the fact that the film is “cool”, however, which is basically a shell of an adjective. I didn’t like Drive because it was cool, I liked it because it was well-directed and recognised that some things are just best left unsaid.

The third film is Martin Scorsese’s Hugo. It really surprised me in many ways (a little bit like Woody Allen’s Midnight in Paris actually) and it was imaginative while still being very touching, so that’s all I ask for when I enter a movie theatre. But also because Marty is in love with his craft, and that is something we can all understand as cinephiles. So to have combined both storylines, that of Hugo’s and George Méliès’, was a very unexpected but pleasant surprise. My fourth pick, Michel Hazavinicus’ The Artist, has to be recognised for its originality but once again, I want to emphasise that it wasn’t just that -it’s all the references and the way the characters brim with joy and then it gets a little bit more complex than that and it’s all very incredibly emotional when you weren’t really expecting it.  Finally, Woody Allen’s Midnight in Paris proved us wrong if we thought Woody had lost his flair for the kind of comedy only he could have written -inventive, inspired and of course, hilarious.

That’s it for my comments on the top 5!
Last but not least, a quick top 5 of the performances of the year:

Actors
1. Ryan Gosling, Drive, The Ides of March
2. Colin Firth, The King’s Speech
3. Jean Dujardin, The Artist
4. Brad Pitt, The Tree of Life, Moneyball
5. Andy Serkis, Rise of the Planet of the Apes (it IS a legitimate performance,  HELLO!)

Actresses
1. Jessica Chastain, The Tree of Life, the Help, the Debt
2. Natalie Portman, Black Swan
3. Jodie Foster, Carnage tied with Viola Davis, the Help
4. Kate Winslet, Carnage, Contagion
5. Carey Mulligan, Never Let Me Go, Drive tied with Elle Fanning, Somewhere, Super 8

Voilà! It’s a wrap for 2011. But 2012 is really, really promising: if all else fails, Christopher Nolan will always be there to offer yet another masterpiece. Yes, I know, I haven’t seen The Dark Knight Rises yet, but you can bet it will take the first place of my top 15 in 2012, it’s just how logic works.

2011, part 2: the year in review

As promised, here are my thoughts on the films I’ve seen since… August. It’s a long read, but I’ve tried to keep it short, so brace yourself!

* Rise of the Planet of the Apes, directed by Rupert Wyatt. An unconventional blockbuster, Rise of the Planet of the Apes is a great success, especially in terms of character development. It relies heavily on the brilliant, brilliant interpretation of Caesar by Andy Serkis (who deserves Oscar recognition in all honesty). Simply put, Rise succeeds where Avatar couldn’t: it uses motion capture to its full potential while retaining a particular focus on the evolution of its main character. It’s entertainment with brains and smarts –the best kind, then. All in all, a very pleasant surprise, and an example for future summer blockbusters to look up to.

* Super 8, directed by JJ Abrams. I have always had a very soft spot for JJ Abrams and I’ve always thought of him as a master storyteller although he is quite a young director. Super 8 is a pure product of nostalgia –which seems to infuse and burst through every frame. It’s a movie about kids, and childhood, and growing up; everything you would expect at first, but it has a lot of heart, although the initial premise is more about mystery and suspense. And it really delivers in terms of pace and action. A huge chunk of it is inspired by Spielberg’s earlier films: if you’re a fan of those, chances are you will enjoy Super 8.

* Melancholia, directed by Lars Von Trier. It’s been often said that Melancholia is one of Von Trier’s most accessible film but let me disagree with that statement. I have never fallen asleep while watching a film in a movie theatre but I missed the last five minutes of that one. I know, I should be ashamed of myself, but what can I say? Either Von Trier is not good enough at holding the viewer’s attention or Melancholia is simply not interesting. Either way, I have to say I am quite astonished at all the excellent critics for this film and the Financial Times claiming it is the film of the year etc. Because this film is close to insufferable. Literally devoid of emotions, although the suffering of the main character is very obvious and in-your-face. It’s a film about depression, I get it, but there’s just no possible emotional connection with the character whatsoever, even though Kirsten Dunst’s performance is quite impressive. And Charlotte Gainsbourg’s character did not fare any better. I understood that she was scared and wanted to be protective of her son but little else. And despite the contrived beauty of the images, the references were, once again, a little bit too much in-your-face (Justine is Shakespeare’s Ophelia. GEDDIT?). And all wrapped up in a sort of tangible pretentiousness. So a big no from me on that one, although I did like Dogville a lot, I unfortunately cannot say the same from this one.

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I’m still alive, haven’t given up on blogging yet!

But I apologise for not updating it in so long, I promise I will try to update my reviews during the Christmas break (yeaaaah right). But my very good excuse is that I haven’t seen most of the films I’ve wanted to see this end of year (most prominently, the Artist, the Help, Carnage, etc.), so I’m waiting for the opportunity to catch these soon and report back here.

In the meantime, today was the announcement of the Screen Actors Guild nominations, which do not have the most interesting categories in my opinion (Director, Cinematagrophy and Score) but still give good indication of what’s happening in this year’s awards season. Once again the Weinstein Company is all over the place, which is never a good sign. But a few surprises here and there nonetherless. I predict the quality of this year’s race won’t be as good as last year’s but there’s still plenty of time until March.

Until then folks…

2011 so far: the year in review

So yeah. I should be ashamed of myself. AND I AM.

But really my latest entry is four and a half month ago so it’s not that long?

So I’ve decided to come up with a quick and efficient way of reviewing all the films I’ve seen since the beginning of the year –not by awarding rates or stars or anything, but by writing five-lines review. What do you mean it’s still lazy?

Here we are.

Okay so January was pretty meagre.

* Somewhere, directed by Sofia Coppola. Disliked it in its entirety. The pretentiousness of it all makes unbearable and it is literally impossible for the viewer to empathise with the main character. As shallow as it pretends to be deep, it is void of emotions, except for a few scenes which allow Elle Fanning to display her talent. Harris Savides’ photography saves the day. But really Sofia, stop with the minimalist bullshit, we get it.

* How Do You Know, directed by James L. Brooks. A film that goes from the overly dramatic to the oddly comedic in seconds, without ever really working. Acting performances are top notch (I went to see this for Paul Rudd, who I adore) but there’s little substance for them to get going. Formulaic directing and screenplay amount to what I’d call a mediocre film.

February was off to a good start:

* The King’s Speech, directed by Tom Hooper. Although in hindsight the thought of this film beating the Social Network at the Oscars still disgusts me, it remains thoroughly enjoyable, a fact largely due to the fantastic performances of its two lead actors, Colin Firth and Geoffrey Rush. Well-intentioned as he may be, director Hooper falls short of expectations, although both the art and costume design are impressive. But there’s no denying that the film is funny, moving and endearing: probably what Academy voters were looking for, then.

* Black Swan, directed by Darren Aronofsky. As disturbing and astoundingly beautiful as you expect it to be, Black Swan is the very embodiment of its director’s tortured mind and filmography. Visually arresting, executed with impeccable precision, it is Aronofsky at its best. But the wide array of psychological issues at stake here makes it suffocating, sometimes too intense for its own good. And also includes horror elements which are sickly surprising and hard to watch. It is a wonder Natalie Portman made it out alive. Portman herself is utterly convincing, costume design by Rodarte is absolutely beautiful.

* True Grit, directed by the Coen brothers. Yet another immensely successful Coen film, True Grit is a remarkable entry in the modern western genre. Dialogue is excellent and sharp and the characters are simply delightful. Hailee Steinfeld, in a breakthrough performance that no viewers will forget, brings a much-needed humanity to an otherwise rather dry universe. Jeff Bridges is cast to perfection, and supporting players are also very good (Matt Damon, Josh Brolin). All in all, a grand entertainment with a lot of heart and plenty of laughs.

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2011 Academy Awards Photopost

Ladies and gentlemen, here’s the Oscar photopost for this year.

Picture credit: Yahoo!Movies | Empire Online | MSN Movies | Yahoo!France | Vanity Fair.
All pics are hosted by Photobucket. Please do not hotlink or use without permission.

The winners // Pressroom

Best Film
The King’s Speech (presenter Steven Spielberg; producers Emile Sherman, Iain Canning, Gareth Unwin)

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Academy Awards winners, 2011

So this my usual post about Oscar winners this year. Be warned that this year’s results kind of pissed me off.  Last year’s post is here.

Best Picture
Black Swan
The Fighter
Inception
The Kids Are All Right
The King’s Speech
127 Hours
The Social Network
Toy Story 3
True Grit
Winter’s Bone

So yes, this was expected, The King’s Speech won this one, congrats. Except this really bothers me. To me, it was a really good film. But a great one? That’s bound to be remembered and discussed for hours and rediscovered with every viewing? I don’t think so.
I’ve long declared my love for the Social Network as the superior film, which it really is. The Academy’s made mistakes before, I still haven’t forgotten the 2006 Oscars and never will. Everyone knows the King’s Speech will not stand the test of time the way the Social Network will. It’s all very well to portray a man overcoming obstacles in order to fulfill his destiny -a beautiful and poignant theme for sure; but it’s a different thing to portray a whole generation’s hopes and ambitions and greed and hunger for something more. It’s also the whole creativity/creation aspect of it that makes the film so fascinating. It’s the idea that anything’s possible, one that’s only possible in our times. And how far can one go to protect that? It’s all these questions reflected against the backdrop of questionable ethics and eventually, the demise of that friendship that was ultimately sacrificed for a greater cause, or perhaps not. I read all that into the Social Network, and much, much more. The first time I saw it, I wasn’t all even that interested in it. The film was okay, if not a little bit cold, perhaps too detached. But then I saw it again, and that was that. The King’s Speech, for all its beautiful characterisation and clever banter, could never have achieved what the Social Network did with its characters, which was to infuse them with such layers that they would feel real, in their good but also uglier aspects.
Also, regarding the prizes the film has won this season compared to the ones won by the King’s Speech, it’s all pretty clear that it came down to critics v. industry; and the Academy being formed of several guilds which had favoured the King’s Speech, it made sense that it won the big prize tonight. And so this will go down Oscar history as yet another Harvey Weinstein victory (the subject of a fascinating Vanity Fair piece), and yet another Oscar campaign perfectly orchestrated… which is a real shame.
Update: according to Dana Brunetti (head producer of the Social Network) Harvey Weinstein himself admitted to the Social Network being the better movie, cf. this Twitter update. How does this make sense, I ask you.

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Academy Awards nominees, 2011

Here are my thoughts on the 2011 Oscar nominees (last year’s post is here).

Best Picture
Black Swan
The Fighter
Inception
The Kids Are All Right
The King’s Speech
127 Hours
The Social Network
Toy Story 3
True Grit
Winter’s Bone

No real surprises on this list, but I have to say, The King’s Speech is the likely winner of the coveted Best Picture Oscar. It seemed for the longest time that The Social Network was going to win this, but it’s clearly lost momentum -with the Baftas setting the trend; although coming from the British Academy, this was less surprising. Then it won the Producer’s Guild Award and now the tally of Oscar nominations makes it quite obvious -The King’s Speech got twelve; the Social Network eight. So the race is really close between those two. I haven’t seen The King’s Speech but I’m pretty sure the Social Network remains my personal favourite and the more deserving winner. But that’s only my opinion.
It’s nice to see the usual Pixar nod in this category since the field has been widened up, and Sundance favourite Winter’s Bone also made the cut, possible to the expense of Ben Affleck’s The Town.

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The state of the race so far…

So as you all know, January/February is usually one of the most expected time of the movie year as the award season unfolds.
But for now, what do we know? The critics have published their top 15 of the year, critics’ circles have started handing out awards, and the Hollywood Foreign Press Association has announced its nominees for the Golden Globes Awards.
(Picture credit : Awards Daily).

*The clear contender at the moment, and the biggest one, is David Fincher’s The Social Network, which I myself have found outrageously good and so well-written. It was a box-office success -for such a small budget at least ($50million); and it opened to rave reviews from all the major publications. The awards buzz as such grew slowly but steadily -and here we are today, with Screen Actors Guild nominations/Golden Globes nominations in all the main categories, winner of the NYFCC awards (critics’ circle from New York City, one of the most important) in the best film and director categories; and the film also swept the National Board of Review, an early and good indicator of Oscar wins.
So in short, we’re looking at a Best Picture win, Best Director nominee, a most probable Best Actor nomination for Jesse Eisenberg, an Adapted Screenplay win; and perhaps a nod in the Best Editing, Cinematography and Music Score categories.

*Right behind The Social Network is Tom Hooper’s The King’s Speech, a “costume drama” that is sure to please the Academy, as it plays all the right cards -biopic of a historical figure with stellar and intense performances. Colin Firth, after last year’s A Single Man, once again won high praises for his performance -he’s a sure Best Actor nominee; and other acting thesps such as Geoffrey Rush and Helena Bonham Carter will also get Best Supporting Actor and Best Supporting Actress noms (or may even win) Actually, Colin Firth  as well might just win the statuette as he’ll be the most ‘veteran’ actor in the field, and that would be great recognition indeed. But the film is also sure to get nominations in the key categories -Best Film, Directing, Original Screenplay, Cinematography, Costume Design, Art Design and Music Score (Alexandre Desplat has a good shot at winning for once, squee!).

*Hot on The King Speech‘s tail is Inception, Chris Nolan’s exploration of the dream world. Sci-fi pics usually do not fare well in award ceremonies; however as this is both compelling storytelling and visual achievement which has won the critics’ acclaim, Inception is definitely a heavy contender as well. Although it was released during the summer, its enduring box-office success made sure it was not to be forgotten when award season started; and Warner Bros clearly understood that as it is the studio’s main award contender this year, alongside Ben Affleck’s The Town, a considerably smaller film in terms of both audience and visibility. A Golden Globe nomination in the Best Picture (Drama) category reinforced its position in this year’s award race; unfortunately, Inception may have to pick up at the Oscars only what’s left by the two aforementioned films : Best Picture and Director nominations, Original Screenplay nomination is a safe bet as well; not likely to get any noms in the acting category as the cast is too widespread, it may also bag a Best Editing, Cinematography, Art Direction, Sound Mixing and Editing, Music Score nomination; and a Visual Effects win for sure.

*Alongside Inception in the ‘unconventional film’ category this year, is Darren Aronofsky’s Black Swan, hailed as the best film in a career that’s already very remarkable -I wouldn’t be surprised if Aronofsky won the Best Director Oscar, although I daresay he will be in very good company in this category. Since its screening at the Venice Film Festival, Black Swan has been a shoo-in for every almost category -Best Film, Director, Best Actress for Natalie Portman and Best Supporting Actress for Mila Kunis ; it will probably get a Best Original Screenplay nom as well as Best Cinematography, Editing, Art Design, Costume Design. However Clint Mansell’s score has been announced ineligible for the Oscars as it drew too much material from Tchaikovsky’s “Swan Lake”. Stupid Oscars.

*No “Little Movie That Could” this year, but David O.Russell’s The Fighter might just be considered as the outsider this year. Sport biopics have always been favoured by the Academy, especially boxing ones, and so this one should be in its rightful place. It has already picked up nominations in the main categories at the Golden Globes – Best Picture (Drama) and Director; as well as Best Actor for Mark Wahlberg, Best Supporting Actor for Christian Bale and two Best Supporting Actresses for Amy Adams and Melissa Leo. Christian Bale is the main contender in his field; it’d be great to see him win an Oscar… At any rate, one can be sure to find all these acting nominations at the Academy Awards as well. Interestingly enough, the film hasn’t been nominated for its screenplay in any of the award ceremonies so far.

*The remaining candidates are: Danny Boyle’s 127 Hours, a star turn for Michelle Williams and Ryan Gosling in Blue Valentine, Sundance sensation Winter’s Bone, Lisa Cholodenko’s The Kids Are All Right, Ben Affleck’s The Town, and never, never forget the Coen brothers, whose latest film True Grit could act as a real surprise, as it was released just a few days ago. Also in the acting categories, Nicole Kidman in Rabbit Hole (Best Actress) and Jacki Weaver in Animal Kingdom (Best Supporting Actress) have been generating quite a buzz for their performances.

Nominations for the Academy Awards will be announced on the 25th of January, expect a post then!

2010 review

As per tradition, here is my list of the best films of the year:

1. The Social Network, directed by David Fincher
2. Inception, directed by Chris Nolan
3. El Secreto de sus Ojos, directed by Juan José Campanella
4. Agora, directed by Alejandro Amenabar
5. A Serious Man, directed by Ethan and Joel Coen
6. Toy Story 3, directed by Lee Unkrich
7. Green Zone, directed by Paul Greengrass
8. The Kids are All Right, directed by Lisa Cholodenko
9. Harry Potter and the Deathly Hallows – Part 1, directed by David Yates
10. Bright Star, directed by Jane Campion
11. Shutter Island, directed by Martin Scorsese
12. The Ghost Writer, directed by Roman Polanski
13. Scott Pilgrim vs. the World, directed by Edgar Wright
14. The Town, directed by Ben Affleck
15. Up in the Air, directed by Jason Reitman

Honorable mentions: Buried, Kick-Ass, London Nights, An Education, I Love You Phillip Morris, Tangled

I know, I know. By all rights, Inception should have been first, the originality of the subject matter alone should make it the rightful number one, surely there hasn’t been a film that was equally innovative… and of course, David Fincher’s The Social Network isn’t. What is is though, is the epitome of our generation, this young century of ours –cinema at its most jubilant and storytelling at its most excellent. The story of Mark Zuckerberg makes for incredible material of course, but it’s how screenwriter Aaron Sorkin chose to treat the subject that is the most surprising –portraying a petulant, insufferable Zuckerberg while making us ache for the fundamental relationship missing in his life. What matters here isn’t how close this is to reality, but how telling it is of our reality. The Social Network is a triumph of fine storytelling, and that’s why I think it was the best movie of the year.
But that doesn’t mean that Inception, which I have reviewed elsewhere on this website, isn’t the biggest success of the year in terms of visuals, because it is. Chris Nolan has proved to be one of the most capable directors of our era –he’s also the only mainstream director willing to push the audience far enough, almost to the edge of confusion. Flashy effects and deliberately complicated structure aside, Inception is still more thrilling than any films you’ll see this year. And bonus point for wearing its heart on its sleeve while plumbing the depths of its characters’ minds.
As for third place… El Secreto de what? It’s this year’s most underrated film, although to be fair, it did win an Oscar last year for Best Foreign Film. But I don’t know anyone in France who’s seen it, except, you know, your two enduring moviegoers. In any case, Campanella’s pelicula about missed opportunities, unresolved murders and undying love is a new take on many classic themes of your usual detective story. It’s as subtle as it can be shocking, and the resolution of the story is so distressing and disturbing at the same time than the ‘twist’ alone is worth the viewing. Fortunately, there are incredible characters all around to keep you distracted from the darker aspects of the film ; plenty of humour to keep you entertained and most importantly, enough smarts to keep you guessing until the end.
I’ve already written a lengthy review of Amenabar’ epic Agora, but here’s three things that should convince you rightaway to buy it in DVD: it’s a peplum that has more intrigue than action; witnessing Alexandria being torn apart by religious conflicts is completely riveting –it sends the mind reeling as much as it fills the heart with despair; and the characters’ complexity is only matched by the fine performers who depict them –Rachel Weisz, Oscar Isaac, Max Minghella, a very solid cast indeed. Buy it already!
Last but not least, A Serious Man is a splendid Coen brothers flick, with as much as irony and dark humour as there can possibly be. I have said it before, I was thoroughly impressed to see how well the themes were echoed in the storytelling itself, which therefore mixes moral questioning, quirky characters, intangible sense of destiny and catastrophe all in one brilliant, complex film that in addition is very-well shot, choreographed and scored. It does leave you somehow perplexed in the end, but entirely satisfied at the idea of having been exposed to such genius.
That’s it for my comments on the top 5, feel free to disagree!
And a quick top 5 of the performances of the year:

Actors
1. Leonardo DiCaprio, Inception, Shutter Island
2. Jesse Eisenberg, The Social Network
3. George Clooney, Up in the Air
4. Ben Whishaw, Bright Star tied with Ewan McGregor, The Ghost Writer, I Love You Phillip Morris
5. Matt Damon, Green Zone

Actresses
1. Carey Mulligan, An Education
2. Annette Bening tied with Julianne Moore, The Kids are All Right
3. Rachel Weisz, Agora
4. Abbie Cornish, Bright Star
5. Anna Kendrick, Up in the Air

Another year gone, a new one starting: the next post will be the 2011 preview, stay tuned!