Pop Culture, Politics and Everything In Between

If I Were an Academy: 5th Edition

2011-02-26T18:50:00.000-07:00

Hello Blogosphere, long time no talk I'm back, for real this time. No really, I promise. Well, maybe. (Indecisive much?) I loved my 10-month review adventure back in 2009, and I miss putting my thoughts into cyberspace. But reviews aren't enough. There are many other people out there "reviewing" and doing it much better than I (read: they're funny, and I'm not so much). I need my own Julie/Julia Project -- and that's not because I want Amy Adams to play me in romantic comedy. I just need inspiration. Julia Child, where are you?

So while I figure out the direction of my tiny, tiny blog, I'll leave you with my Oscar predictions and opinions. My longest-running (and favorite) "blog theme."

Best Picture
When I started my own "awards in 2007 my Best Picture picks varied widely with the Academy's, but now that they've expanded to ten my choices have become far less interesting. Christopher Nolan's Inception was my favorite film of the year. The score, direction, visual effects, and performances were all dreamlike. It's a film that will redefine the summer blockbuster. However, I will go away disappointed when Steven Spielberg announces The King's Speech as winner. It's not a bad film. It's just not as superb as much of 2010's cinema.

Nominees: Black Swan, The Fighter, Inception, The Kids Are All Right, The Kings Speech, 127 Hours, The Social Network, Toy Story 3, True Grit, and Winter's Bone
Will Win: The King's Speech
Should Win: Inception
Jason's Top Ten (in order of adoration): Inception, The Kids Are All Right, Toy Story 3, The Fighter, 127 Hours, The Social Network, Rabbit Hole, Blue Valentine, Shutter Island, and True Grit

Direction
I'm a firm believer that you should win Best Picture without winning Best Director, so that makes this category easy. Inception was my favorite film, and Christopher Nolan wasn't nominated so that rules out my first choice. According to my Top Ten list David O' Russell is best here. Tom Hooper should (undeservedly) win this though in a King's Speech sweep.
Nominees: Black Swan Darren Aronofsky, The Fighter David O. Russell, The King's Speech, Tom Hooper, The Social Network David Fincher, True Grit Joel Coen and Ethan Coen Who Will Will Win: Tom Hooper for The King's Speech
Who Should Win and Who Should've Been Nominated: Christopher Nolan for Inception

Best Actor
For the first time in a long time this category is weaker than the Best Actress category. Any one of the Best Actress nominees could beat out any one of these men for Best Performance of 2010.
If I were voting, James Franco would top my ballot. His tour-de-force performance in 127 Hours was impeccable. Few actors could have infused such vitality and vibrancy into such a stationary role. But again, Oscar voters won't agree. They'll much up for last year's mistake of not giving Colin Firth the trophy for A Single Man and award him this year for his stuttering, lovable King.

Nominees: Javier Bardem in Biutiful, Jeff Bridges in True Grit, Jesse Eisenberg in The Social Network, Colin Firth in The King's Speech, James Franco in 127 Hours
Will Win: Colin Firth
Should Win: James Franco
Should've Been Nominated: Ryan Gosling in Blue Valentine and Aaron Eckhart in Rabbit Hole (in place of Bardem and Bridges)

Best Actor in a Supporting Role
This is one of the easiest categories to call this year. Game, set, match for Batman. Christian Bale will walk home with his first (very much deserved) Oscar. It's just a shame that this is also his first nomination.

Nominees: Christian Bale in The Fighter, John Hawkes in Winter's Bone, Jeremy Renner in The Town, Mark Ruffalo in The Kids Are All Right, Geoffrey Rush in The King's Speech
Who Will & Should Win: Christian Bale
Who Should've Been Nominated: Andrew Garfield in The Social Network and Miles Teller in Rabbit Hole (in place of Renner and Rush)

Actress in a Leading Role
My favorite Best Actress performance isn't even nominated. Julianne Moore was brilliant in The Kids Are All Right - navigating a role that would've overcome most actresses. However, this slate is pretty stellar. Given the strength of all the nominees is baffles me how Natalie Portman how won every precursor award -- she's nowhere near leagues better than everyone else, but she'll walk away with the Oscar anyway.
Nominees: Annette Bening in The Kids Are All Right, Nicole Kidman in Rabbit Hole, Jennifer Lawrence in Winter's Bone, Natalie Portman in Black Swan, Michelle Williams in Blue Valentine
Who Will Win: Natalie Portman
Who Should Win: Nicole Kidman
Who Should've Been Nominated: Julianne Moore (!!!!) in The Kids Are All Right (in place of Lawrence)

Actress in a Supporting Role
Yet another category where my favorite isn't nominated (Marion Cotillard in Inception), but this is easily the night's most competitive category and the most likely to have a surprise winner. Melissa Leo is the popular choice as she was darn good in The Fighter, but if I were voting I'd choose her co-star Amy Adams. Adams' performance is just as, if not more, memorable than Leo's, and while Leo's role was written t0 be flashy Adams wins you over with her nuance. I'm not predicting either to win though. I'm predicting Hailee Steinfeld, the True Grit youngster, to surprise all the cinema veterans.

Nominees: Amy Adams in The Fighter, Helena Bonham Carter in The King's Speech, Melissa Leo in The Fighter, Hailee Steinfeld in True Grit, Jacki Weaver in Animal Kingdom
Who Will Win: Hailee Steinfeld, True Grit
Who Should Win: Amy Adams, The Fighter
Who Should've Been Nominated: Blake Lively in The Town and Marion Cotillard in Inception (in place of Bonham Carter and Steinfeld)

Adapted Screenplay
The Social Network takes this in a cake walk. There's not much else to say.
Nominees: 127 Hours, The Social Network, Toy Story 3, True Grit, Winter's Bone
Who Will & Should Win: The Social Network
Who Should've Been Nominated: Rabbit Hole and Shutter Island (in place of True Grit and Winter's Bone)

Original Screenplay
Oscar night will be a King's Speech sweep, as mentioned, so it should take this easily. However, it's stiffest competition will likely come from the deserving winner - The Kids Are All Right, a film the succeeded because of its simplicity.
Nominees: Another Year, The Fighter, Inception, The Kids Are All Right, The King's Speech
Will Win: The King's Speech
Should Win: The Kids Are All Right
Should've Been Nominated: Blue Valentine (in place of Another Year)

The rest (sans analysis)....

Animated Feature Film
Nominees: How to Train Your Dragon, The Illusionist, Toy Story 3
Who Will & Should Win: Toy Story 3
Should've Been Nominated: Despicable Me (in place of The Illusionist)

Art Direction
Nominees: Alice in Wonderland, Harry Potter and the Deathly Hallows Part 1, Inception, The King's Speech, True Grit
Will Win: The King's Speech
Should Win: Inception
Should've Been Nominated: Shutter Island

Cinematograpy
Nominees: Black Swan, Inception, The King's Speech, The Social Network, True Grit
Will Win: True Grit
Should Win: Inception
Should've Been Nominated: Blue Valentine

Costume Design
Nominees: Alice in Wonderland, I am Love, The King's Speech, The Tempest, True Grit
Who Will Win: The King's Speech
Who Should Win: Alice in Wonderland
Who Should've Been Nominated: Tron Legacy

Documentary Feature
Nominees: Exit through the Gift Shop, Gasland, Inside Job, Restrepo, Waste Land
Will Win: Exit through the Gift Shop
Should Win: Waiting for Superman. Oh wait...
Should've Been Nominated: The aforementioned Superman and The Tillman Story

Documentary Short Subject
Nominees: Killing in the Name, Poster Girl, Strangers No More, Sun Come Up, The Warriors of Qiugang
Will Win: The Warriors of Qiugang

Editing
Nominees: Black Swan, The Fighter, The King's Speech, 127 Hours, The Social Network
Will Win: The King's Speech
Should Win: 127 Hours
Should've Been Nominated: Inception

Foreign Language Film
Nominees: Biutiful, Dogtooth, In a Better World, Incendies, Outside the Law
Will Win: Biutiful

Makeup
Nominees: Barney's Version, The Way Back, The Wolfman
Who Will Win: The Wolfman
Should've Been Nominated: The Fighter

Original Score
Nominees: How to Train Your Dragon, Inception, The King's Speech, 127 Hours, The Social Network
Will Win: The Social Network
Who Should Win: Inception
Who Should've Been Nominated: Tron: Legacy

Original Song
Nominees: "Coming Home" from Country Strong, "I See the Light" from Tangled, "If I Rise" from 127 Hours, "We Belong Together" from Toy Story 3
Will Win: "If I Rise"
Should Win: "I See the Light"
Should've Been Nominated: "When Will My Life Begin" from Tangled

Animated Short Film
Nominees: Day & Night, The Gruffalo, Let's Pollute, The Lost Thing, Madagascar, carnet de voyage
Will Win: Day & Night

Live Action Short Film
Nominees: The Confession, The Crush, God of Love, Na Wewe, Wish 143
Will Win: God of Love

Sound Editing
Nominees: Inception, Toy Story 3, Tron: Legacy, True Grit, Unstoppable
Will and Should Win: Inception
Should've Been Nominated: How to Train Your Dragon

Sound Mixing
Nominees: Inception, The King's Speech, Salt, The Social Network, True Grit
Who Will Win: The Social Network
Who Should Win: Inception

Visual Effects
Nominees: Alice in Wonderland, Harry Potter and the Deathly Hallows Part 1, Hereafter, Inception, Iron Man 2
Will & Should Win: Inception
Should've Been Nominated: TRON: Legacy

Adapted Screenplay
Nominees: 127 Hours, The Social Network, Toy Story 3, True Grit, Winter's Bone
Who Will & Should Win: The Social Network
Who Should've Been Nominated: Rabbit Hole and Shutter Island

Original Screenplay
Nominees: Another Year, The Fighter, Inception, The Kids Are All Right, The King's Speech
Will Win: The King's Speech
Should Win: The Kids Are All Right
Should've Been Nominated: Blue Valentine

Nomination Count (not including Foreign Language, Doc and Short categories):
The King's Speech - 7 statues
The Social Network - 3 statues
Inception - 2 statues
True Grit - 2 statues
127 Hours - 1 statue
Black Swan - 1 statue
The Fighter - 1 statue
Toy Story 3 - 1 statue
The Wolfman - 1 statue

If We Were the HFPA

2011-01-14T15:14:00.005-07:00

Image Courtesy of Warner Bros.

Thanks to my friend Brian over at Please Welcome Your Judges I finally have content for my blog! I love awards season, and here is our take on the movie portion of this Sunday's Golden Globes:

Best Motion Picture - Drama

Should Win: The King's Speech (Brian); Inception (Jason)
Should've Been Nominated: True Grit (Brian); Shutter Island (Jason)
Brian Says: Jason obviously has a crush on Leonard DiCaprio (more on that later) and Brian can't get enough of period pieces.
Jason Says: I can't help it that Leo makes every picture better, and Shutter Island is this year's best most-forgotten film.

Best Motion Picture - Comedy or Musical

Should Win: The Kids Are All Right (Brian and Jason)
Should've Been Nominated: Since Toy Story 3 isn't eligible... Morning Glory (Brian); Easy A (Jason)
Jason Says: Kids is my favorite movie of the year, behind Inception. Yes, that's likely because I managed to see it at Sundance. Easy A was this year's Mean Girls and given the weak comedy category it should've been nominated. Plus, Emma Stone > Lindsay Lohan.
Brian Says: Speaking of Mean Girls, Rachel McAdams' Morning Glory was SO underrated! If Alice in Wonderland wins this, I might throw a remote through the TV. Actually, anything except a Kids victory will elicit violent behavior.

Best Performance by an Actress in a Motion Picture - Drama

Should Win: Natalie Portman, Black Swan (Brian and Jason)
Should've Been Nominated: Hailee Steinfeld, True Grit (Brian and Jason)
Brian Says: We occasionally have the same brain. Natalie's performance is miles ahead of the competition. I'll let Jason explain Hailee's appearance here.
Jason Says: Maybe I'm bitter, but this is definitely one of my most passionate thoughts of the awards season! Despite what critics will have you think, Hailee Steinfield is NOT a supporting actress contender. She was great, but belongs in this category. Oh yeah, and Natalie Portman was great too, but I haven't seen any of the other nominated performances, so she wins by default.

Best Performance by an Actor in a Motion Picture - Drama

Should Win: Colin Firth, The King's Speech (Brian); James Franco, 127 Hours (Jason)
Should've Been Nominated: Leonardo DiCaprio, Inception (Brian and Jason)
Jason Says: Again, living in the land of the Great Salty Lake has it's drawbacks, I haven't seen Firth's performance yet, so I can't weigh in there. However, since I think he was robbed last year I think I'll be riding the Firth train come Oscar time. As it stands now, I pick Franco. He carried 127 Hours. Oh yeah, and my crush on Leo continues.
Brian Says: Back-to-back years of phenomenal performances from Firth prove he is one of the great actors of our time. Leo was in Titanic, so he gets extra points from me.

Best Performance by an Actress in a Motion Picture - Comedy or Musical

Should Win: Annette Bening, The Kids Are All Right (Brian and Jason)
Should've Been Nominated: Rachel McAdams, Morning Glory (Brian); Chloe Moretz, Kick Ass (Jason)
Brian Says: I tend to empathize with characters who are equally as obsessed with red wine as I am (more on that later), plus Annette was a true force in Kids. And Rachel McAdams was the shining star of the underrated Morning Glory.
Jason Says: I really wanted to pick Julianne just because I love Boston University alums, but Annette was so effortless in Kids that I didn't even notice she was acting. Chloe Moretz had a breakthrough year with Kick Ass and Let Me In, so the HFPA should've thrown her a bone here.

Best Performance by an Actor in a Motion Picture - Comedy or Musical

Should Win: No One (Brian); Johnny Depp, Alice in Wonderland (Jason)
Should've Been Nominated: Michael Cera, Scott Pilgrim vs. the World (Brian); Mark Wahlberg, The Other Guys (Jason)
Jason Says: I was one of five people who enjoyed Alice in Wonderland, so I vote Depp. I was actually surprised The Other Guys didn't get any nods - it was one of the few films this year that actually made me laugh. Plus, who doesn't love Marky Mark?
Brian Says: This group of nominees is miserable. I almost voted for Jake Gyllenhaal, except Love & Other Drugs was the opposite of funny. Michael Cera was fantastic as Scott Pilgrim—perfectly fit to his "type" but elevated by all of the great action sequences.

Best Performance by an Actress in a Supporting Role in a Motion Picture

Should Win: Amy Adams, The Fighter (Brian); Tie - Melissa Leo/Amy Adams, The Fighter (Jason)
Should've Been Nominated: Barbara Hershey, Black Swan (Brian); Marion Cotillard (Jason)
Brian Says: This is no doubt a knock out battle between the ladies of The Fighter (get it?), who both transformed themselves into true women of Lowell, MA. And I'm still waiting for someone to explain why Barbara Hershey is getting zero love for her great performance in Black Swan.
Jason Says: I'll agree with you on that. Though Black Swan wasn't my cup of tea, Barbara Hershey was much better than the overrated Mila Kunis. Though my biggest pet peeve is the lack of love for Marion Cotillard. She was the best performance in Inception. She navigated an incredibly delicate role perfectly.

Best Performance by an Actor in a Supporting Role in a Motion Picture

Should Win: Christian Bale, The Fighter (Brian and Jason)
Should've Been Nominated: Mark Ruffalo, The Kids Are All Right (Brian); Justin Timberlake, The Social Network (Jason)
Jason Says: Christian Bale scores a knockout (see I can make Fighter jokes, too!). Given my obsession with The Kids are All Right it was hard not to pick Ruffalo, but Justin WAS Sean Parker in The Social Network and deserves at least a little recognition.
Brian Says: To be fair, Justin was my second choice for the "should have" category, so we pretty much agree here, too.

Best Director - Motion Picture

Should Win: David Fincher, The Social Network (Brian); Christopher Nolan, Inception (Jason)
Should've Been Nominated: Joel and Ethan Coen, True Grit (Brian); Lisa Cholodenko, The Kids Are All Right (Jason)
Brian Says: Putting all the pieces together for the much whispered-about "Facebook movie" was no easy feat, and it was pulled off brilliantly by Fincher. And it really takes true grit to remake a John Wayne classic, but the Coen brothers did it with style.
Jason Says: I voted Inception for the best film of the year, so it only makes sense to pick Nolan as the best director. Lisa Chodolenko directed The Kids are All Right effortlessly, drawing superb performances from the entire cast. She deserves to be among the boys.

Best Screenplay - Motion Picture

Should Win: Aaron Sorkin, The Social Network (Brian and Jason)
Should've Been Nominated: Scott Silver, Paul Tamasy and Eric Johnson The Fighter (Brian); Michael Ardnt, Toy Story 3 (Jason)
Jason Says: Sorkin's dialogue in TSN was brilliant. Enough said. Animated films don't get enough credit, and Toy Story 3's story was a brilliant way to end the beloved trilogy.
Brian Says: Totally agree about Social Network. As for The Fighter? "If you call me a skank one more time I'll rip your ugly hair off your f***ing head." Done.

Best Original Score - Motion Picture

Should Win: Hans Zimmer, Inception (Brian and Jason)
Should've Been Nominated: Pharrell Williams, Despicable Me (Brian); Daft Punk, TRON: Legacy (Jason)
Brian Says: Just go on YouTube and you'll quickly see what a cultural impact Hans Zimmer's score had this year. And Pharrell's score brought a great groove and quirkiness to Despicable Me.
Jason Says: It'd be a shock if anyone other than Zimmer won. If you saw TRON: Legacy you know how much cooler Daft Punk's score made the film—leagues and leagues ahead of the original.

Best Original Song - Motion Picture

Should Win: "You Haven't Seen the Last of Me," Burlesque (Brian and Jason)
Should've Been Nominated: "Despicable Me," Despicable Me (Brian); "When Will My Life Begin," Tangled (Jason)
We Say: Cher. 'Nuff said.

An Open Letter to Utah Democrats, Both Young and Old

2010-11-14T09:12:00.001-07:00

Image courtesy or utdemocrats.org

The future of the Utah Democratic Party is in jeopardy. If you're a Democrat in the nation's most conservative state and you don't see it then take another look. We're in trouble. We just suffered our worst election loses since 1994. Our numbers in the Utah Legislature our pathetic. In the House and Senate combined there are 80 Republicans and 24 Democrats. Let me repeat. Twenty four.

Those numbers should terrify you even if you're not a self-identified Democrat. Utah is in desperate need of balanced government. A government made of super majorities and little debate is a dangerous one, and we're living it Utah. However, it's worse if you're a Democrat - you're facing extinction even if you won't admit it.

Think about it. Our numbers our terrible. They're flat out embarrassing. We were apathetic this last election cycle. We're all guilty and we should all take responsibility for our losses and lack of gains. I could have done more, much more, and you could have too.

We have put ourselves in an awful position. We head into redistricting with very little left to lose. In 2001 the Republicans gerrymandered us into an oblivion and they will do so again. Governor Herbert assured that on Friday when he declared an independent redistricting commission to be "unconstitutional." Give me a break.

The 2012 election cycle has all the makings to be a disaster. We're home to the Tea Party movement, people are conservative here and we cannot deny that. If the movement continues, having President Obama on the top of the ticket will rally Tea Party voters. I hate to say it, but it's true, and it gets worse. It's possible that Mitt Romney could headline or co-headline the Republican ticket. He's our golden boy. Utahns love him. Even though he governed Massachusetts just as a "Utah Democrat" would, it won't be good news for anyone with a "D" next to their name.

However, there is great hope. The odds are stacked against us. Our backs are up against the wall. Hell, can we really lose that much more? The answer is no, and we don't have anywhere to go but up. However, we're starting off on the wrong foot. Yesterday's Young Democrats of Utah (YDU) election made that crystal clear.

I've been on the YDU board for two years. It's been a great experience, and the organization has introduced me to so many great people -- many who are now great friends. I ran for a different position yesterday. I lost. The race was close, very close. I'm used to close races - my young political career (both personal races and those of others) has only been made up of squeakers. Actually I'd welcome a blow out or two. It might be less stressful. Anyway, I'm getting off topic. This isn't about me. And as I said yesterday in my campaign speech, Nicole Christensen will be a fantastic Communications Director, and I couldn't have lost to anyone better.

With that said, some of the behavior I noticed yesterday and the weeks preceding the election was unacceptable. This isn't meant to call people out or be accusatory, but it's meant to change behavior. We have to change the way we operate. None of us are perfect, but there is no place in Utah Democratic politics for name calling, backstabbing, and underhanded, shady dealings. We all play for the same team. We're too small to be so divided.

We're only signing our own death sentence. Inter-party challenges are fine. They're probably best. They keep us strong and prepared for general elections. However, we really need to take a step back and look at how they're done. Many left the YDU convention yesterday broken and hurt. Losing sucks, but YDU is too important to the future of the Democratic Party for so many to feel left out and betrayed.

The Jim Matheson and Claudia Wright contest earlier this year had the same undertones. There was fighting, name calling, and some gross nastiness. I supported Jim from the beginning and I stand by my decision. Has he always voted the way I would have liked? No way. However, it's always been my personal belief that we must put candidates on the ticket who are electable. Claudia Wright wasn't electable. November 2 proved that. Does that make a Claudia Wright supporter a lunatic? Certainly not. However is Jim Matheson a horrible wretched man? He most definitely is not. He represents his constituents, and most of his constituents are Republicans, so take from that what you will.

I'm pleading for a return to civility. We'll never post respectable numbers in Utah with such animosity. We're all Democrats. We're the party of inclusiveness. We're the party of the people. And if we truly believe that's the case then all viewpoints are welcome whether they're conservative or progressive.

We've got a long road to hoe and we need to have each other's backs. We must put aside our differences and unite. We must throw away our apathy and roll up our sleeves. On election night, I heard several well-known Democrats say, "there's nothing more we could have done." That's not good enough. We need to look at ourselves, figure out what we did wrong, and fix it. We're Utahns. We're the Beehive State for a reason, and Utah Democrats need to embody that. The only way we'll reap success is to work twice as hard as the opposing party. We have to beat them at their own game. Afterall, we're playing on their turf.

I want so much for us to shock the state and that nation with a great showing in 2012. I'm committed to all the hard work that it WILL take starting now. The question is, is anyone else?

Right Back Where I Started From

2010-10-10T13:16:00.000-06:00

I'm on a roll. Three posts in two days. Craziness. I started blogging because of movies, so that's where I'll pick up.

As we enter awards season, the 2010 film landscape is in pretty good shape. We've had a handful of great films and we're only a few weeks into the fall. The Kids Are All Right and Inception are tied for my favorite film of the year and Toy Story 3 isn't too far behind. The Social Network, How to Train Your Dragon, and Shutter Island all are deserving of accolades as well. Though any novice Oscar watcher knows that the first 9 months of the year rarely matter. All the "quality" films come out post Labor Day. With that, here's a list of all the upcoming titles that I'm stoked to see.

October
Most looking forward to: Hereafter. Since Mystic River, I've only met one Clint Eastwood film I didn't like (Invictus). The concept here looks interesting and Matt Damon appears to turn in a great performance (hopefully one better than his Oscar-nominated turn in Invictus).

Others:
Conviction - A lot of people in Hollywood hate Hilary Swank for "undeservedly" winning two Oscars. However, Conviction looks to soften her hard girl persona. Plus I'm interested to see if the Academy will resist another Bening vs. Swank Best Actress Oscar race. Trailer here.
Paranormal Activity 2 - I really hope this isn't Blair Witch 2, but last year's surprise hit was so great I'm holding out hope that they avoid Blair's mistakes. Trailer here.
The Company Men - Last year was the "Year of Sandra Bullock." Depending on how The Company Men turns out, 2010 may be the "Year of Ben Affleck." It was well received at Sundance, so my hopes are high. Trailer here.
Waiting for Superman and The Pat Tillman Story - These two Sundance documentaries have been released in theaters already, but they don't reach Utah until later this month. They both look equally powerful. Superman trailer here. Tillman trailer here.

November
Most looking forward to: 127 Hours and Harry Potter and the Deathly Hallows: Part 1. I couldn't pick just one. Danny Boyle's follow-up to Slumdog Millionaire looks equally as exhilarating as the rags-to-riches drama. And how could anyone not be looking forward to the last installment of Harry Potter? The trailer teases the film as the best yet, and I couldn't be more thrilled that the film won't be in 3D.

127 Hours

Harry Potter and the Deathly Hallows: Part 1

Due Date - Todd Phillips' followup to The Hangover. Hopefully it's just as funny. Trailer here.
Fair Game - I love a good spy story. And a spy story with Sean Penn and Naomi Watts? I'm there. Trailer here.
For Colored Girls - Normally a Tyler Perry film would never make a list like this. However, the cast is terrific, so I'm holding out hope that it's this year's Precious. Trailer here.
Unstoppable - Chris Pine, Denzel Washington, and lots of explosions. Enough said. Trailer here.
Morning Glory - this looks like it could be just as bad as Katherine Heigl flick. Or it could be one of the few romantic comedies that surprises with its heart and intelligence. Trailer here.
Skyline - I don't know anything about this other than what I've seen in the trailer, and it's pretty intriguing. Trailer here.
Tangled - Princess and the Frog was disappointing. Tangled looks like it might reverse Disney's recent bad luck with hand-drawn animation. The images do look beautiful. Trailer here.
Love and Other Drugs - This may be this year's Up in the Air except sexier and maybe a little bit cheekier. At least that's the best case scenario. Trailer here.
The King's Speech - few films are buzzier than this one. The critics are jumping over themselves. I just hope that Colin Firth is fantastic and can win the Oscar he most deserved for last year's A Single Man. Trailer here.

December
Most looking forward to: The Fighter. I can't stand boxing in real life, but the sport does make for great film. I love this cast (Mark Wahlberg, Christian Bale, and Amy Adams) and the trailer is promising.

Black Swan - I'm not sure what to make of the trailer, but I'm very, very intrigued. Trailer here.
The Tourist - When the two stars of your film are both recognizable by their first names (Angelina and Johnny) you know you have a hit on your hands. Trailer here.
How Do You Know - I've missed Reese Witherspoon. She hasn't been in a good film since 2005's Walk the Line. Hopefully this is her comeback. Trailer here.
True Grit - This might be just as good as No Country for Old Men. If it is, we're in for a treat. Trailer here.
Blue Valentine - The MPAA just slapped this with an NC-17 rating. It'll be interesting to see how the studio handles that. It's said to be a tough watch, but the buzz surrounding Gosling and Williams is significant. Trailer here.
The Debt - I know nothing about this one, but the trailer looks like a smart, gritty action film. Trailer here.

Release Date TBD: These have yet to get a tentative release date, but I figure they'll be players in the Oscar race.
Rabbit Hole - when Nicole Kidman is on her game there are few actresses better. This looks to bring her back to the days of The Others, Moulin Rouge, and The Hours. Clips here.
Made in Dagenham - Could be this year's The Full Monty - a witty about "British rebellion." Trailer here.

By my count, that's at least 26 movies I'll be seeing over the next three months. Wish me luck.

The Space Between

2010-10-10T11:48:00.003-06:00

It didn't take long, but I figured out my problem. I think. The "in between." See the blog title. Pop Culture, Politics and Everything In Between. I've never wrote about the in between. Movie reviews, quotes and cryptic Kelly Clarkson posts. That's all that made up my blog for the last year or so. Maybe I was too focused. Maybe I wasn't. But that's what I'll spend the next little while figuring out - how to write about the in between.

I'm still not sure how to classify that though. I won't ever become a blogger who posts about every life trial and tribulation. I've done that before. I'd rather not do it again. It's not for lack of material. I've got a few "personal doozies" up my sleeve that I need to save for my best-selling memoir when I'm 50. Maybe "Jason" is what was missing before. That's what makes writing (and blogging) special - the writer. Unique perspectives and voices are what differentiate us, and this blog needs to find it's voice again (or maybe for the first time). I'm not writing for anyone other than myself and I'm desperate to find the passion for writing that I once had.

So here's to a new online blogging adventure. I hope I don't give up this time.

Superfreak. Superfreak. I'm Super Freaky.

2010-10-09T21:43:00.004-06:00

I'm not sure why I miss blogging, but I do. Though if I return to the blogosphere, I want my blog to be different, but I'm not sure how. I love pop culture and politics, but things around here were getting a little bland. So if I come back things are gonna change. Maybe.

I just know that I miss writing. I went through all of my college papers at my mom's today. And at the risk of sounding arrogant, I was a really good writer. Some of my papers were fairly impressive. I'm not sure what has happened since then, but I don't think any of my posts have been nearly as witty or clever as anything I turned in as school work. That's kinda ironic, isn't it?

Oh well. Maybe I'll come back and actually write about something interesting some day, but for now, I'm just perplexed.

With that, I'll leave you with a "quote of the week." I'm probably one of the 10 people on the planet still in love with Grey's Anatomy, but even so, I'll leave you with a quote from the forever wise Meredith Grey.

"Nobody chooses to be a freak. Most people don't realize they're a freak until it's way to late to change it. No matter how much of a freak you end up being, chances are there's still someone out there for you... Because when it comes to love, even freaks can't wait forever."

Talkin' Politics

2010-06-15T22:28:00.003-06:00

You wouldn't know it from all my posts, but I love politics, and I proudly call myself a Utah Democrat. Given my partisan affiliation, I thought it was about time I ventured into the political arena here again. Luckily, I recently wrote a letter to the editor that got published in three of Utah's four papers. This isn't a big deal, but excuse me while I congratulate myself. So just in case you missed it, which you probably did, my latest thoughts on Utah gubernatorial candidate Peter Corroon:

"It's no secret that our economy is struggling. Unemployment is at 7.2 percent and the state has lost 72,000 jobs over the past two years.

The job issue won't fix itself. Utah legislators have been ineffective in addressing the job and economic crisis. This past session they dodged the important issues by wasting time with "message bills" and other non-issues.

With a state budget shortfall projected around $100 million, many of our lawmakers have neglected to propose solutions that create jobs and increase revenue.

Gubernatorial candidate and Salt Lake County Mayor Peter Corroon presented his job plan for Utah ("Corroon wants tax break for companies," Tribune , June 10). His plan strengthens Utah's economy by supporting Utah's most important asset, its small businesses.

Utah has the highest number of small businesses per capita in the nation, and the current state government's strategy of attracting big business leaves bright-minded entrepreneurs and working families behind. Without raising taxes, Corroon's plan will invest in our future while putting Utahns back to work.

I am excited by Corroon's plan and look forward to hearing his other inventive solutions for Utah."

Published at the following links: here, here, and here.

"Empty Handed" & "After the Love"

2010-06-13T20:41:00.003-06:00

I'm not sure how I missed this, but nearly ten months ago two unreleased Kelly Clarkson songs, "Empty Handed" and "After the Love," hit the web. I stumbled upon them this weekend, so if you too missed them, they're embedded below. "Empty Handed" is the better of the two, and while neither would be chart busters, they're singer-songwriter ditties that'll please any Clarkson fan.

"Empty Handed":

"After the Love":

Better Days

2010-06-02T09:11:00.004-06:00

Following in the footsteps of American Idol alums Kris Allen and Allison Iraheta, Kelly Clarkson and Chris Daughtry took the stage this weekend and proved that American Idol has seen better days.

And Kris and Allison's killer pairing, just in case you missed it:

"This Could Break My Heart or Save Me"

2010-05-29T17:51:00.002-06:00

I haven't written about Kelly Clarkson in 160 days. For me, that's probably 159 days too many. So here's a "just because" Kelly post.

Back in 2007, Ms. Clarkson's second single, "Sober," from her album My December tanked. It went nowhere on the radio and online sales were sparse. The song's poor performance effectively ended promotion for the album and it was labeled a failure. However, nearly three years later, "Sober" is still one of the best song's in Kelly's repertoire. If you haven't heard it, or if it's been a while, take a listen:

Why I Loved LOST

2010-05-24T15:50:00.000-06:00

Spoiler Alert: If you haven't seen last night's lost finale you may want to avoid this post.

Last night was the big night. The night when six years of questions were finally supposed to be answered. Now, less than 24 hours after the conclusion of LOST (the biggest event of the decade according to ABC), many fans are up in arms that they didn't get enough answers. However, I'm not one of the pissed off Losties. I'm as pleased as can be. After the finale, I realized I didn't need answers. I never watched LOST for the mystery and science, I watched it because I loved the characters. And that's where LOST's finale succeeded - it was about the characters and not the fantasy.

Shows that rely heavily on mythology (like LOST, Battlestar Galatica, or even Alias) only succeed because, at their core, they're character studies. LOST wasn't about an island with supernatural powers, it was a story about a group of flawed strangers trying to survive together. My favorite episodes of LOST weren't episodes where they explored the fantastical nature of the island, but when we learned more about the castaways. Sure the polar bear, the disappearing island, and the time travel were interesting, but they don't make a show. LOST's best moments were the moments when we truly felt and understood the lives of these characters: when Michael shot Libby and Ana Lucia, when Sun thought Jin died, or when Sawyer and Juliet passionately reunited in the finale.

Contrast those moments with some of LOST's worst: the recent episode which gave us answers to Jacob and the Man in Black (not even Allison Janney could save that snoozer) or when Michael returned and we learned the origin of the islands whispers, and you'll too discover that there was little satisfaction in uncovering LOST's mysteries.

LOST's answers were always disappointments. That wasn't a bad thing either. The beauty of LOST was that each audience member could reach their own conclusion about the islands various mysteries. The concept of "choose your own adventure" theories, made for a more captive and invested fan base.

The only reason anyone is debating the finale is because of the rabid fan base. However, without a stellar cast of characters that fan base wouldn't exist. We kept getting LOST week after week because we cared about the outcome of Jack, Kate, Sun, and Sawyer. And now that we've reached the end, we should all be thankful for the wonderful ride.

Still All Right

2010-05-22T20:22:00.002-06:00

Spring is always a slow time for films. It's where studios burn off shoulda-coulda-woulda Oscar contenders and not-quite-there-yet summer flicks. Instead of recapping all the films that I've neglected to blog about individually, here's a list, from best to worst, of everything I've seen in 2010.

The Kids are All Right - The Sundance darling is still hanging in there as this year's best pic. Previous review here.

Shutter Island - The DiCaprio-Scorsese tandem has yet to misstep. While not as critically beloved as The Departed or The Aviator, Shutter Island is smart, tense, and impeccably made. Grade: A-

How to Train Your Dragon - Depending how critics and audiences react to Toy Story 3 and Tangled (Disney's take on the story of Rapunzel) later this year, a studio other than Disney/Pixar may walk away with the Best Animated Feature Oscar next year. How to Train Your Dragon was everything an animated film should be: imaginative, fun, and fully of whimsy. Grade: B+

Alice in Wonderland - I'm in the minority, but I love when Tim Burton goes "commercial," and Alice was no exception. Grade: B+

Freedom Writers - A solid documentary that not enough people will see. Previous review here.

Date Night - Not even the dream team of Steve Carrell and Tina Fey can save a script that is too unfocused. However the Carrell-Fey combination could make the phone book funny, and in the end, Date Night is worth watching just to see them together. Grade: B

Tucker & Dale Vs. Evil - Hopefully this one catches audiences' attention later in the year because it could be a promising franchise. Previous review here.

Robin Hood - Robin Hood is a mediocre film that doesn't do anything wrong, but it doesn't do anything great either. The entire film feels like a setup for a franchise. We'll see if Universal even gets that far. Grade: B-

Iron Man 2 - Iron Man 2 failed where the first film succeeded. There were too many characters and far too many storylines. Sometimes simpler is better, even for Tony Stark. Grade: B-

Percy Jackson and the Olympians: The Lightening Thief - Another great concept and story castrated by the limp film-making skills of Chris Columbus (see previous offenses: Rent and the first two Harry Potter films). Grade: B-

Clash of the Titans - The film wasn't terrible, but Percy Jackson made Greek mythology a whole lot more fun. Grade: C

Green Zone - Unlike the DiCaprio-Scorsese tandem the Damon-Greengrass pairing is no longer unblemished. Green Zone was run-of-the-mill and remarkably boring. Damon and Greengrass should stick to the world of Jason Bourne. Grade: C-

The Book of Eli - Sure, the twist ending was good, but everything else about Eli was a post-apocalyptic drag. Grade: D+

Splice - One of the worst movies ever. Period. Previous review here.

"Terrified"

2010-05-17T22:44:00.004-06:00

After a three month hiatus, I'm back with my self-important and (mostly) meaningless blog posts. The world is the same as it was three months ago, when I last posted about the Oscars (shocker!). American Idol continues to disappoint, Glee is the gayest thing on television, and I still have an unhealthy crush on Kelly Clarkson. Well, I guess the passing of the health care bill was a "big f*cking deal," but I digress.

It would've been great to come back into the blogosphere with an earth-shattering entry. Unfortunately, for anyone reading this, I'm back with something that is neither timely nor relevant. I've already posted the subject on facebook and twitter, but I guess it's worth using 300 words on the subject anyhow.

It's a well-known secret that this season's American Idol is the reality juggernaut's worst. Simon is coasting, Ellen is a disappointment, and if it weren't for Crystal Bowersox we'd be headed for the worst Idol winner since that gray-haired train-wreck, Taylor Hicks. Other than Mama Sox, there has been one great find this season -- "Terrified," an unknown song written by Idol's newly-crowned cougar, Kara Dioguardi.

Didi Benami, one of the many female contestants eliminated faaaaar too early this season, put the song on the map in the early Hollywood rounds. See below:

After falling in love with Didi's version I found the "original" version recorded by another American Idol alum, Katharine McPhee, last year. The song has already broken 50 plays on my iTunes play count. Not too shabby for a song that I downloaded only a few months ago. If you haven't heard the song, take a listen. Every so often it's good to be a little "Terrified:"

Oscar Predictions

2010-03-05T15:33:00.002-07:00

I haven't been much of a blogger lately, but with the Oscars this Sunday I couldn't let them go by without my (likely incredibly wrong) predictions. With that, here we go. (Excluding races like animated short and documentary feature, since I've seen hardly any of the nominated films.)

Best Picture
Nominees: Avatar, The Blind Side, District 9, An Education, The Hurt Locker, Inglourious Basterds, Precious, A Serious Man, Up, Up in the Air
Will Win: The Hurt Locker seems destined to become the lowest-grossing Best Picture winner ever. Avatar will win the most awards, but The Hurt Locker will come away with the one that matters. I can't see the Academy going for Avatar, not without screenplay or acting nods.
Should Win: Up. Two months ago, in my "Best of 2009" post, I named Up my favorite flick. So for consistencies sake, I'm sticking with my unpopular choice.

Best Director
Nominees: James Cameron, Avatar; Kathryn Bigelow, The Hurt Locker; Quentin Tarantino, Inglourious Basterds; Lee Daniels, Precious; Jason Reitman, Up in the Air
Will & Should Win: Kathryn Bigelow has swept all the precursor awards and Oscar night should be no different. She created, without question, the year's most intense film.

Best Actor
Nominees: Jeff Bridges, Crazy Heart; George Clooney, Up in the Air; Colin Firth, A Single Man; Morgan Freeman, Invictus; Jeremy Renner, The Hurt Locker
Will Win: Jeff Bridges will take home this year's "Lifetime Achievement Oscar." It doesn't hurt that his boozy performance is pretty dang good.
Should Win: Colin Firth's career-making performance in A Single Man was everything an Oscar-winning performance should be.

Best Actress
Nominees: Sandra Bullock, The Blind Side; Helen Mirren, The Last Station; Carey Mulligan, An Education; Gabourey Sidibe, Precious; Meryl Streep, Julie & Julia
Will Win: "Sandy" Bullock has everything going for her. She has the precursor awards, the "paid her dues" factor, and everyone in Hollywood loves her. Hopefully a win will lead to her making better movies. Oscar winners don't star in All About Steve, Sandra. Take note.
Should Win: Gabourey Sidibe. Two months ago I said Meryl Streep. However, if I were voting I'd go with Gabourey Sidibe and her heart-breaking turn in Precious.

Best Supporting Actor
Nominees: Matt Damon, Invictus; Woody Harrelson, The Messenger; Christopher Plummer, The Last Station; Stanley Tucci, The Lovely Bones; Christoph Waltz, Inglourious Basterds
Will & Should Win: Christoph Waltz is a virtual lock to take home the golden statue for his deliciously evil portrayal of a fictional Nazi colonel.

Best Supporting Actress
Nominees: Penelope Cruz, Nine; Vera Farmiga, Up in the Air; Maggie Gyllenhaal, Crazy Heart; Anna Kendrick, Up in the Air; Mo'Nique, Precious
Will & Should Win: Mo'Nique's tour-de-force performance in Precious is in a completely different league than the rest of the nominees.

Best Adapted Screenplay
Nominees: An Education, In the Loop, District 9, Precious, Up in the Air
Will & Should Win: Up in the Air contained the year's smartest and wittiest dialogue. It should take this in a cakewalk.

Best Original Screenplay
Nominees: The Hurt Locker, Inglourious Basterds, The Messenger, A Serious Man, Up
Will Win: Inglourious Basterds. Just how Adapted Screenplay will be Up in the Air's big consolation prize, the Original Screenplay award will likely be runner-up prize for Tarantino's "Holocaust reinterpretation."
Should Win: Up. Again, many will disagree, but I'd give the award to Up for delivering the year's most affecting storytelling.

Best Art Direction
Nominees: Avatar, The Imaginarium of Doctor Parnassus, Nine, Sherlock Holmes, The Young Victoria
Will & Should Win: Avatar succeeded largely on artistic vision, so the film should be the frontrunner here.

Best Cinematography
Nominees: Avatar, Harry Potter and the Half-Blood Prince, The Hurt Locker, Inglourious Basterds, The White Ribbon
Will & Should Win: Avatar was 2009's most beautifully shot film. Again, it should win this one fairly easily.

Best Costume Design
Nominees: Bright Star, Coco Before Chanel, The Imaginarium of Doctor Parnassus, Nine, The Young Victoria
Will & Should Win: The Young Victoria. The Academy loves a period piece, and the costumes in The Young Victoria were impeccably "Victorian."

Best Film Editing
Nominees: Avatar, District 9, The Hurt Locker, Inglourious Basterds, Precious
Will Win: The Hurt Locker. Kathryn's Bigelow's film is highly-regarded in many circles, and that love should carry over into an editing win.
Should Win: Avatar. Before nominations, I would've gone with Up in the Air, but it stunningly was left off the list. However, he final action scene in Avatar is reason enough to bestow James Cameron's epic with Best Editing.

Best Makeup
Nominees: Il Divo, Star Trek, The Young Victoria
Will & Should Win: Star Trek. The film with the truly the best makeup job (District 9) isn't even nominated, so Star Trek wins by default. It did have a green woman...

Best Original Score
Nominees: Avatar, Fantastic Mr. Fox, The Hurt Locker, Sherlock Holmes, Up
Will & Should Win: Up. Nearly the first ten minutes of Up contain no dialogue. Michael Giacchino's score should receive the award for carrying the film that long, not to mention they're the most moving ten minutes of the entire picture.

Best Original Song
Nominees: "The Weary Kind," Crazy Heart; "Almost There," Princess and the Frog; "Down in New Orleans," Princess and the Frog, "Take it All ," Nine; "Loin de Paname," Paris 36
Will & Should Win: "The Weary Kind," Crazy Heart. No song was more integral or more powerfully used in a storyline than "The Weary Kind" in Crazy Heart.

Best Sound Editing
Nominees: Avatar, The Hurt Locker, Inglourious Basterds, Star Trek, Up
Will Win: Avatar. When you spend $500 million on a film, there's a reason it will sweep the majority of the Oscar tech awards.
Should Win: Star Trek. The use of sound in Star Trek blew me away, but it's being overshadowed by the "Biggest Film of All Time."

Best Sound Mixing
Nominees: Avatar, The Hurt Locker, Inglourious Basterds, Star Trek, Transformers: Revenge of the Fallen
Will Win: Avatar. See above.
Should Win: Star Trek. Again, see above.

Visual Effects
Nominees: Avatar, District 9, Star Trek
Will & Should Win: Avatar. Easiest prediction by far.

Animated Feature Film
Nominees: Coraline, Fantastic Mr. Fox, Princess & the Frog, The Secret of Kells, Up
Will & Should Win: Up. It's nominated for Best Picture, and it's my favorite picture (regardless of medium) for the entire year, so it's is the easy choice.

Predicted Awards Tally: Avatar - 6 , The Hurt Locker - 3 , Crazy Heart - 2, Inglourious Basterds - 2, Up - 2, Precious - 1, Star Trek - 1, Up in the Air - 1, The Young Victoria - 1

"I Got You"

2010-02-16T21:55:00.002-07:00

Two years ago, Leona Lewis was the biggest name in pop music. Her debut album Spirit, and its lead single, "Bleeding Love," took the world by storm. One would think her insane success would guarantee automatic sales of her sophomore album, Echo. That hasn't been the case. Her sales have sagged, especially in the U.S., even though Echo is flat out better than Spirit. Lewis just released the video for the album's second single, "I Got You." The song is fantastic, just try not getting the chorus (And when you need a place to run to/ for better for worse/ I got you) stuck in your head -- it's impossible. It's definitely one of her best.

Video:

And for those who missed out on "Happy," the catchy yet (slightly) schmaltzy lead single, watch the video. It's good stuff. Embedded below:

"You're All I Need"

2010-02-14T11:54:00.006-07:00

It's Valentine's Day, so it's the perfect excuse for me to post two of the best scenes from my all-time favorite television pairing, Alias' Sydney and Vaughn. They likely won't mean much for anyone who hasn't seen the show, but they're adorable nonetheless.

Vaughn: Syd, this watch belonged to my father. It's broken now, but it used to keep perfect time. And when he gave it to me, he said, "You could set your heart by this watch." It stopped October first -- the day we met.

Clip:

Vaughn: We're not gonna make it out of here. There's something I need you to know.
Sydney: Vaughn...
Vaughn: In my life, there's only one person...
Sydney: Don't do this.
Vaughn: Look at me.
Sydney: Vaughn...
Vaughn: The only reason I pushed you away...
Sydney: Please...
Vaughn: The only reason I didn't know how to be around you...
Sydney: They're coming.
Vaughn: Sydney...
Sydney: I know, Vaughn. I know. We'll find each other. We always find each other.

Clip:

"In My Book You'll Always Be Client #1"

2010-02-07T13:43:00.004-07:00

I've always loved Saturday Night Live's Weekend Update, but these crass Valentine's Day cards from Eliot Spitzer might actually make V-Day more enjoyable.

Video:

If I Were an Academy: 2009 Edition

2010-02-01T07:00:00.008-07:00

It's that time of year again: Oscar nomination time. Tomorrow the Academy of Motion Picture Arts & Sciences will announce the 2010 Oscar nominees, and as always, I am stoked. Unlike many critics, I think 2009 was a fantastic year for film. Better than most years in recent memory. It was a year that contained crowd-pleasing comedies (The Hangover, Julie & Julia), animated films with multi-generational appeal (Up, 9, Fantastic Mr. Fox), gut-wrenching dramas (The Hurt Locker, Precious, A Single Man), and, oh yeah, what will soon be the highest grossing film of all-time (Avatar). With that, what follows is my "ballot" if I were an Academy member, as well as my 2010 Oscar predictions. (And as a note, I've seen almost everything worth seeing, but not quite.)

Top Ten / Best Picture
1. Up. Without question, Pixar's best and most moving film. The film's opening 15 minutes are some of the best ever.
2. A Single Man. The best "gay movie" I've seen. Yes, better than Brokeback Mountain. Tom Ford's directorial debut is beautifully shot, incredibly acted, and utterly moving.
3. Precious. This wake-up call for all of America features two dynamite performances from Mo'Nique and newcomer Gabourey Sibide.
4. Avatar. The story isn't the most original, but the groundbreaking visuals are an absolute spectacle, and worth seeing again, and again, and again.
5. The Hurt Locker. A Single Man may be one of the best "gay" movies ever made, and The Hurt Locker may be one of the best war films ever made. Kathryn Bigelow's detailed direction makes The Hurt Locker the definition of a nail-biter.
6. Up in the Air. The movie of the moment. Jason Reitman's third film is the perfect film to describe the state of America in 2009.
7. Where the Wild Things Are. Maurice Sendak's beloved short story becomes an even better film that brings out the child in all of us.
8. (500) Days of Summer. The year's best romantic comedy, and it isn't even a feel-good love story.
9. Inglourious Basterds. Tarantino rewrites history and it couldn't be more fun. As with Up, the film's opening sequence is absolute brilliance.
10. District 9. The rare sci-fi flick that's both intelligent and entertaining.

What Will Actually Be Nominated: An Education, Avatar, District 9, The Hurt Locker, Inglourious Basterds, Invictus, Precious, A Serious Man, Up, Up in the Air

Best Director:
Kathryn Bigelow, The Hurt Locker
Tom Ford, A Single Man
James Cameron, Avatar
Jason Reitman, Up in the Air
Pete Docter, Up

Who Will Actually Be Nominated: Bigelow, Cameron, Lee Daniels (Precious), Reitman, Quentin Tarantino (Inglourious Basterds)

Best Actor
Colin Firth, A Single Man
Jeremy Renner, The Hurt Locker
Max Records, Where the Wild Things Are
Joseph Gordon-Levitt, (500) Days of Summer
George Clooney, Up in the Air

Who Will Actually Be Nominated: Jeff Bridges (Crazy Heart), Clooney, Firth, Morgan Freeman (Invictus), Renner

Best Actress
Meryl Streep, Julie & Julia
Gabourey Sibide, Precious
Sandra Bullock, The Blind Side
Carey Mulligan, An Education
Emily Blunt, The Young Victoria

Who Will Actually Be Nominated: Blunt, Bullock, Mulligan, Sibide, Streep (We agree! Go figure.)

Best Supporting Actor
Christoph Waltz, Inglourious Basterds
Peter Calpadi, In the Loop
Anthony Mackie, The Hurt Locker
Zach Galfanakis, The Hangover
Stanley Tucci, Julie & Julia

Who Will Actually Be Nominated: Matt Damon (Invictus), Woody Harrelson (The Messenger), Alfred Molina (An Education), Waltz, Tucci (The Lovely Bones)

Best Supporting Actress
Mo'Nique, Precious
Julianne Moore, A Single Man
Vera Farmiga, Up in the Air
Diane Kruger, Inglourious Basterds
Anna Kendrick, Up in the Air

Who Will Actually Be Nominated: Farmiga, Kendrick, Melanie Laurent (Inglourious Basterds), Mo'Nique, Moore

Original Screenplay
Up
(500) Days of Summer
The Hurt Locker
Inglourious Basterds
The Hangover

What Will Actually Be Nominated: A Serious Man, (500) Days of Summer, The Hurt Locker, Inglourious Basterds, Up

Adapted Screenplay
Up in the Air
A Single Man
Where the Wild Things Are
Precious
In the Loop

What Will Actually Be Nominated: An Education, District 9, Fantastic Mr. Fox, Precious, Up in the Air

2009's Best (and Worst) of the Rest
11. An Education
12. Star Trek
13. Julie & Julia
14. The Hangover
15. In the Loop
16. Fantastic Mr. Fox
17. Zombieland
18. Adventureland
19. Food Inc.
20. Harry Potter and the Half-Blood Prince
21. Paranormal Activity
22. I Love You, Man
23. The Proposal
24. 9
25. Sunshine Cleaning
26. The Blind Side
27. Earth
28. The Road
29. The Princess & the Frog
30. Invictus
31. Duplicity
32. The Time Traveler's Wife
33. Coraline
34. The Invention of Lying
35. The Young Victoria
36. The Informant!
37. Bruno
38. Surrogates
39. Taken
40. X-Men Origins: Wolverine
41. Law Abiding Citizen
42. G.I. Joe: The Rise of the Cobra
43. He's Just Not That Into You
44. 2012
45. Transformers: Revenge of the Fallen
46. The Men Who Stare At Goats

Sundance Recap 2010

2010-01-31T13:07:00.001-07:00

Growing up in Utah, and loving movies as much as I do, you'd think that I would've broken my Sundance virginity long before 2010, but it wasn't meant to be. However, I finally popped my film festival cherry this year (four times over). With that, here's my Sundance 2010 recap.

Tucker & Dale vs. Evil: Tucker & Dale vs. Evil may be 2010's Zombieland: a rare horror comedy that's actually funny. As with most good comedies, the plot is simple and the laughs are organic. Two hillbillies, Tucker & Dale (Alan Tudyk, Tyler Labine), are mistaken as psychotic serial killers by a group of college kids on a weekend camping trip. Queue hilarity. The script is perfection for this type of comedy, but Tudyk and Labine really sell it. Their chemistry is palatable, and there's no doubt that these bumbling idiots were meant for each other. They're so good that one can only hope this successful pairing translates into a Tucker & Dale franchise. Grade: B+

Freedom Riders: Freedom Riders is the real story of America's true heroes who stood up and fought for the change they believed in. The documentary sheds new light on the courageous young men and women who rode buses across the southern United States and defied bigotry and the government to stand up against racial segregation. Unlike many documentaries, Freedom Riders shuns the use of a narrator, to the film's benefit, and lets the remarkable story sell itself. The documentary also disregards the legends of both John F. Kennedy Jr. and Martin Luther King Jr., and portrays them not as larger-than-life heroes, but as regular leaders thrust into the middle of a crisis. Freedom Riders is a film that every American should see, if only to remind us of our embarrassing past, and to ensure that history never repeats itself. Grade: A

The Kids Are All Right: The Kids Are All Right, written and directed by Lisa Chodlenko, couldn't come at a more perfect time. In 2010, when gay marriage is still one of the country's most hotly-debated topics, The Kids Are All Right proves that whether gay or straight, commitment and love trump a government's definition of family. Nic (Annette Bening) and Jules (Julianne Moore) have been together for 18 years and have two children (Mia Wasikowska, Josh Hutcherson) from the same sperm donor. Their marriage has the same quirks as any other, but gets complicated when the kids seek out and bond with their biological father (Mark Ruffalo). Chodlenko's script is accessible and laugh-out-loud funny, and her direction is spot-on. The film is a crowd-pleaser. However, it's the two leading ladies that steal the show. The pairing is nothing short of sensational. Bening is irresistibly likable and Moore has never been more relatable. It's far too early for this kind of talk, but one of these women could (and should) finally walk away with her first Oscar statuette come 2011. The Kids Are All Right, is more than alright, it's relevant, heartfelt, witty, and fantastic. Grade: A

Splice: I wouldn't be surprised if Splice was the worst film to come from Sundance 2010. With names like Adrien Brody, Sarah Polley, and Guillermo Del Toro, attached Splice should have been one of the Festival's biggest successes. However, the film does about everything wrong. The plot of this "horror" flick about a newly formed "alien" species is predictable and you can see the "twists" coming from a mile away. The acting is juvenile -- Polley, who brilliantly wrote and directed 2007's Away From Her, should consider staying behind the camera. Splice is so awful that this review doesn't warrant any more discussion, and I'll leave it at that. Grade: D

"Long Shot"

2010-01-18T22:25:00.002-07:00

Back to celebrity worship in this week's quote of the week. I'm not entirely convinced that Sandra Bullock gave the best performance of the year, or even of her career (that was her fiery performance in Crash), but think I may root for her to win the Oscar this March. She gave a great speech when she won her Golden Globe for The Blind Side this past Sunday. I adored her shout out to her husband:

"There's no surprise that my work got better when I met you, because I never knew what it felt like for someone to have my back."

Video embedded below:

A Striking Man

2010-01-17T11:59:00.000-07:00

George Falconer is devastated. He's a 52-year-old, closeted, gay, English professor in 1962 mourning the loss of his partner of 16 years. A Single Man follows George (Colin Firth) on a day in which he is determined to change is pain-stricken life. On this day, George teaches students at his L.A. school about invisible minorities, mentors an attractive younger student (Nicholas Hoult), and meets up with his boozy best friend, Charly (Julianne Moore).

A Single Man is the most visually enthralling film of the year, and given the subject matter, it should be one of the most gut-wrenching. However, the beautiful imagery evokes an emotional detachment that works in the film's favor. During the course of the day, George is an auxiliary character in his life, going through the motions as a mere witness. With director Tom Ford's (the fashion designer's first foray into film-making) unique vision, A Single Man is a similar viewing experience. The audience is more a witness, rather than a participant, in the tragedy and triumph of George's life. That distinct separation makes the film, especially the ending, much more thought-provoking and satisfying.

Firth's performance is one for the ages. Regularly type-cast as a nice guy in films like Love, Actually, Bridget Jones's Diary, and Mamma Mia!, he brings incredible depth to A Single Man. His every movement is a remarkable expression of George's all-consuming grief. Moore is equally superb. In only ten minutes on screen, she's altogether hilarious and heartbreaking. Had Mo'Nique not given such a tour-de-force performance in Precious, Moore would be receiving her first, and much-deserved, Oscar this February.

Between the stellar performances, the impeccable visuals, and the haunting score, A Single Man is one of the best films to come from 2009, and one that should never be invisible.

Grade: A

"No One Else"

2010-01-10T14:35:00.003-07:00

"You know me so well / You can't even tell / That you're like no one else, that you're like no one else"

Not much of a quote this week, but in celebration of American Idol's new season launching this Tuesday, I thought I'd post a song from my favorite season eight contestant's, Allison Iraheta's, new (and unknown) album.

"No One Else:"

"You Found Me"

2010-01-03T11:28:00.001-07:00

I forgot just how much I loved Juno, until I re-watched it again this weekend. I love everything about it. One of my favorite scenes comes near the end of the film when Juno tells her dad that she's doubting love. His response, while simple, is the perfect definition of what we're all looking for.

Juno: "I just need to know that it's possible that two people can stay happy together forever. "

Mac: "Well, it's not easy, that's for sure. Now, I may not have the best track record in the world, but I have been with your stepmother for 10 years now and I'm proud to say that we're very happy. Look, in my opinion, the best thing you can do is find a person who loves you for exactly what you are. Good mood, bad mood, ugly, pretty, handsome, what have you, the right person is still going to think the sun shines out your ass. That's the kind of person that's worth sticking with."

Quick and Dirty

2010-01-02T22:48:00.001-07:00

Three more movies this week, and three more not-quite-detailed-enough reviews.

The Road: Desolation is the name of the game in the film adaptation of Cormac MaCarthy's The Road. Starring Viggo Mortensen and Kodi Smit-Mcphee as a father and son trying to survive in a post-apocalyptic world, The Road thrives on hopelessness, but doesn't quite succeed. It's never established what brought devastation to the planet, but that doesn't matter. The world is a place of filth and destruction, and the scenery serves as a major character. The backdrops are breathtaking and callous, providing an overwhelming sense of isolation. However, that's The Road's greatest asset. There isn't much of a plot in the film, it's plainly a story of a father and son attempting to make it through the day. In order for a story so simple to work, the film needs to grab audience with gut-wrenching emotion, and that's where The Road misses the mark. The Road has all the ingredients to be a unique and moving experience, but it's merely a disturbing movie without any heart. Grade: B

Up in the Air: There hasn't a been a film more timely this year than Jason Reitman's (director of Thank You for Smoking and Juno) latest, Up in the Air. George Clooney is Ryan Bingham, a middle-aged man devoted to his job as a "corporate grim reaper." He flies across the country firing people whose bosses are too chicken to do the dirty work. It's on his cross-country travels that Ryan meets his equal, Alex (Vera Farmiga). When she describes herself to Ryan she says, "think of me as yourself, only with a vagina." However, the pair's love affair is thrown into limbo when a recent college graduate (Anna Kendrick) proposes that Ryan's company round up the traveling "firing squad" and conduct all firings via the Internet. The events (and surprises) that follow are storytelling at its best. Clooney was made for this role, and Farmiga is superb as his sparring partner. It's the role of her career, and the chemistry between she and Clooney is reminiscent of other great Hollywood pairings. Kendrick too is a standout, she sheds any memory of appearing in the Twilight films, and creates a character that is both high-strung and emotionally transparent. Above all, it's Up in the Air's timeliness that determines its success. As thousands of Americans continue to lose their jobs, Up in the Air shows us that it's not our careers that define us, rather that we are defined by those we love -- and they're the reason we wake up every morning. Grade: A

The Young Victoria: God Save Emily Blunt. In The Young Victoria, an overly-romanticized tale of the life and times of England's Queen Victoria, Blunt transcends an unfocused script and mediocre direction to do the improbable -- she makes The Young Victoria watchable. The film begins with Victoria as a teenager destined for the throne, and follows her through her initial years as ruler. The script jumps between the political and the romantic, dabbling in the story of Victoria's scheming family while touching on her desire to find a loving and equal partner. The film doesn't go far enough with either subject, merely skimming the drama, and as a result The Young Victoria is a bore. Blunt, however, saves the day. Her Victoria is unabashed and layered, and had the film been better, the Oscar buzz surrounding this must-see performance would be deafening. Grade: B-

All Together Now

2009-12-27T20:26:00.006-07:00

Oscar season is in full swing, and as a result, I've seen a lot of movies, but if I am going to blog about every movie I see before Oscar nominations in January, I have a lot of work to do. Even though these films deserve more than a paragraph long analysis, that's all they're going to get.

Avatar: James Cameron knows spectacle. Twelve years after Titantic became King of the (box office) World, Cameron is back with a jaw-dropping 3-D thrill ride. The premise of Avatar is simple -- it's the story of humans attempting to take over the world of Pandora, currently inhabited by 10-foot-tall fluorescent blue natives. Basically, it's Dances with Wolves meets Fern Gully. The story may not be revolutionary, but the images and action sequences are so mind-blowing that similarities to any other story are bowled aside. Grade: A

Fantastic Mr. Fox: George Clooney and Meryl Streep are two of the biggest stars in the business, but not even their voices (as Mr. and Mrs. Fox) can outshine the clever and detailed animation in the Fantastic Mr. Fox. The animation combined with a wry script (adapted from Roald Dahl's children's book) written by Hollywood's oddball, Wes Anderson, make the Fantastic Mr. Fox an exuberant celebration of film-making. Grade: A-

Invictus: The biggest disappoint of the year. Clint Eastwood made a living this decade by releasing last-minute films that took the box office and/or the Academy Awards by storm (see: Million Dollar Baby, Gran Torino, and Letters from Iwo Jima). Invictus isn't a bad film, but it doesn't live up to Eastwood's previous work. The story of Nelson Mandela and the South African rugby team after the fall of apartheid is buoyed by Morgan Freeman's best performance in years and a impressively subtle turn from Matt Damon. However, the dialogue is preachy and Eastwood, who usually uses music to perfection in his films, allows his son to create a score that is sappy and heavy-handed. Better luck next time Clint. Grade: B

The Princess & the Frog: This year is a banner year for animation. With great films like Up, Fantastic Mr. Fox, 9, Coraline, and now The Princess & the Frog, 2009 has more than one film that could be considered one of the year's 10 best. With Disney returning to it's 2-D roots, The Princess & the Frog came with a lot of expectations, and (almost) lives up to them. The movie has all the ingredients for success: an endearing heroine, wonderful music, impeccable animation, but there's just not enough of it. The film would be an instant classic if had more character development and plot. The Princess & the Frog doesn't live up to the brilliance of The Beauty & the Beast or The Lion King, but it more than holds its own with Disney musicals like Mulan and Tarzan. Grade: B+

"Instead of Just This Song, You Have My Heart"

2009-12-27T01:08:00.005-07:00

In lieu of a quote for the week, more new acoustic songs from Ms. Clarkson. It's definitely not bubblegum pop, but I love it - especially "Song To You."

"Song To You:"

"Hand-Me-Downs:"

"White Horse" (Taylor Swift cover):

Unreleased (Live) Kelly: "Poison Candy," "Far From Home," and "Don't"

2009-12-26T12:06:00.006-07:00

Two new songs from VIP shows of Kelly Clarkson's All I Ever Wanted tour leaked this week, and I am obsessed. Singer/songwriter Kelly is back in full force with these songs, and I love it. Then again, I love anything she does.

"Poison Candy:"

"Far From Home:"

And just for old times sake, my all-time favorite unreleased Kelly song, "Don't."

Top 10 Movies of the Decade

2009-12-23T07:00:00.002-07:00

1. Crash (2005)
Many critics lament Crash as one of the worst film's ever to win the Academy Award for Best Picture. I couldn't disagree more. It's one of the few times the Academy actually got it right. Paul Haggis' directorial debut is simultaneously exhilarating, depressing, and disturbing. It's a rare film that will cause you to think and question your own behavior.

2. United 93 (2006)
The decade's hardest movie to watch was one of its best. Paul Greengrass' examination of the doomed United flight 93 plays like an impeccable documentary. I've never had a more powerful reaction to a film than I did to United 93. Sure, the subject matter had something to do with the raging emotions, but the superb way in which Greengrass examines human nature will stir even the most stone-faced movie-goer.

3. Big Fish (2003)
The best movies are the ones that make you feel. They're not the films with splashy performances, the impeccable one-liners, or the out-of-this-world special effects. They're the movies that "speak to you." Maybe they're not critically-acclaimed, but that's no what matters. For me, that movie is Big Fish. Often overlooked by many when discussing Tim Burton's best work, Big Fish is an imaginative experience full of heart.

4. In America (2003)
It's impossible not to love this story about an Irish family immigrating to America. The story brims with sadness, but director Jim Sheridan's subtle sense of humor makes the experience joyous. Real-life sisters, Emma and Sarah Bolger, steal the show with their d0e-eyed innocence and insatiable exuberance. In America is a film about what truly matters in America -- family.

5. Eternal Sunshine of the Spotless Mind (2004)
Michael Gondry's one-of-a-kind style paired with unforgettable performances from Kate Winslet and Jim Carrey made Eternal Sunshine 2004's most original and best flick. Eternal Sunshine is a movie about the true meaning of love, and it's love's flaws that will leave you enamored with this quirky and tragic story of fate, hope, and adoration.

6. Lord of the Rings Trilogy (2001 - 2003)
It's quite difficult to make adaptations of famous literature. Audiences and critics usually agree, "the book was better than the movie." That can't be said of Peter Jackson's take on J.R. Tolkien's famous fantasy adventures. As Gollem would say, Jackson's masterpiece is our precioussss.

7. Slumdog Millionaire / The Dark Knight (2008)
The timing of a film's release can determine its success and how its viewed critically. That's true of both Slumdog Millionaire and The Dark Knight. They're two movies that perfectly capture the mood of society at a specific point in time. Not only are both movies impeccably made, acted, and directed, but they're perfect descriptors of life in 2008.

8. Up (2009)
Pixar had a great decade. Each of the studio's films was practically better than the last. That must be why Up makes this list. Up is the best animated movie to hit the big screen since The Beauty and the Beast. It's full of pathos, humor, and sentiment. During Up, children watch their wildest imaginations play out on the big screen, and adults simply remember the joy of being young while celebrating the beauty in growing old.

9. Chicago (2002)
The musical is cool again, thanks to Chicago. Rob Marshall's glitz-filled musical is elevated by career-best performances from Catherine Zeta-Jones, Richard Gere, and Renée Zellweger. The movie helped inspire a bevy of stage-to-screen adaptations -- from Rent and Sweeney Todd to Dreamgirls and Phantom of the Opera. However, one of the decade's first musical was its best. Thanks to Chicago, the silver screen now has a little more razzle dazzle.

10. Million Dollar Baby / Letters From Iwo Jima (2004 / 2006)
Clint Eastwood had an amazing decade, and his work couldn't go unrecognized. I couldn't choose just one. Million Dollar Baby and Letters from Iwo Jima are two of the best of their respective "film genres," sports and war. Each takes its genre's respective clichés, throws them out the window, and focuses on good, old-fashioned storytelling. Now going on 79-years-old, Mr. Eastwood keeps getting better with age.

Top 10 (Mainstream) Songs of the Decade (Sorta)

2009-12-21T09:00:00.006-07:00

1. " Since U Been Gone" - Kelly Clarkson (2004)
This should be no surprise. "Since U Been Gone" is pop rock perfection. From the opening guitar riffs to Clarkson's gale-force vocals to the in-your-face lyrics, "Since U Been Gone" is irresistible. The ranking wasn't even a contest. The "Since U Been Gone" play count on Jason's iTunes: 450. The next closest song? 295. Enough said.

2. "So What" - P!nk (2008)
Max Martin is a pop God. Afterall, he did write the two best pop songs of the 2000's. Like Kelly Clarkson's "Since U Been Gone," "So What" is a massive hit that will define P!nk's career. The lyrics are simple, yet the singer's matter-of-fact attitude matched with the fist-pumping chorus prove that P!nk is still a rockstar.

3. "Single Ladies" - Beyoncé (2008)
Beyoncé could've dominated this list with songs like "Crazy in Love," "Irreplaceable," "If I Were A Boy," and "Halo." However none of those hits meets the cultural significance of "Single Ladies." Paired with a flawless video, "Single Ladies" is still being parodied more than a year after its release. Everyone agrees, Sasha is fierce.

4. "SexyBack" - Justin Timberlake (2006)
The 2000's were good to Mr. Timberlake. Not only did he launch a successful solo career, but he helped pen and produce songs for artists like Madonna and Nelly Furtado. However, none of those efforts were as good as Timberlake's own "SexyBack." The pulse pounding beat and stylized vocals truly do make FutureSex/LoveSounds.

5. "We Belong Together" - Mariah Carey (2005)
Comebacks don't get better than this. Mariah may be known for her pop ballads, but she stormed back on the scene in 2005 with this R&B jam. The quickfire verses combined with Carey's subdued delivery made for the biggest gamble of the singer's career. The calculated risk paid off, as she made the best R&B song of the decade.

6. "Not Ready to Make Nice" - Dixie Chicks (2006)
The best thing George W. Bush did as president was piss off the Dixie Chicks. Had Natalie Maines not openly dissed the president and faced the backlash of Middle America, we would've never been graced with "Not Ready to Make Nice." Performed with authentic heartbreak and anger, "Not Ready to Make Nice" is the best song to come from country's preeminent girl group.

7. "Gold Digger" - Kanye West (2005)
He has the biggest ego in Hollywood, but Kanye West knows how to make music. Few artists know how to stay as fresh, current, and original as Kanye, and "Gold Digger" is his best song. With the opening line of, "She take my money, well I'm in need" to the chorus shouting of, "We want pre-nup!," "Gold Digger" will be stuck in your head for days.

8. "This Love" - Maroon 5 (2002)
Adam Levine's voice is one of the most distinctive voices to rise from the 2000's and "This Love" serves as a showcase for his trademark falsetto. The rest of the band isn't too shabby either, with the guitars and piano providing a sublime, sexy background for Levine's voice.

9. The Breakaway Trifecta - "Breakaway" / "Behind These Hazel Eyes" / "Because of You" Kelly Clarkson (2004/2005)
"My Life Would Suck Without You" or "Already Gone" could have filled Kelly slot number two on my list. However, 2004 was the year that Ms. Clarkson took the world by storm, and I could not ignore singles one, three, and four from one of pop music's best albums. Each song showed a different side of the original American Idol's voice, and each was a raging success both in America and across the globe.

10. The 2009 Trio - "You Belong With Me" - Taylor Swift / "Use Somebody" - Kings of Leon / "Poker Face" - Lady Gaga (2009)
I am aware that I've cheated and included more that ten songs on this list, but there were too many options. The decade's final year included career-making songs from Taylor Swift, Kings of Leon, and Lady Gaga. Taylor's simple and piercing voice worked flawlessly with the lyrics on "You Belong With Me," the indie group Kings of Leon finally went mainstream with the monster hit "Use Somebody," and Lady Gaga made dance music cool again with "Poker Face." Now, as we enter a new decade, hopefully each artist can continue to redefine themselves and make music that matters.

"Hello You Long Shots"

2009-12-20T11:00:00.000-07:00

This week's quote comes in the form of lyrics, and is stolen from one of my best friends, Elizabeth.

"Some dreams stay with you forever
drag you around and lead you back to where you were
Some dreams keep on getting better
Gotta keep believing if you wanna know for sure

Oh oh, I can hear them playing
I can hear the ringing of a beat up ol’ guitar
oh oh, I can hear them saying
Keep on dreaming even if it breaks your heart"

-Will Hoge, "Even If It Breaks Your Heart"

Video:

Will You Be My Valentine?

2009-12-18T23:35:00.007-07:00

A few months ago I blogged about how trite and cliche the new movie Valentine's Day looked. A new (and better) trailer premiered here today. Now, I am excited to see the movie. Bizarre, I know, since Valentine's Day doesn't actually look good or particularly original. Maybe I am looking forward to it because I really want to see Jennifer Garner go ape-crazy on a pinata (awesome!), or maybe I am turning into a softie who can actually enjoy awful rom-coms (yuck!). Whatever the reason, I think I know where I'll be spending my Single's Awareness Day in 2010 - with my butt in the seat of a movie theater, right where I belong. Who's with me?

Top 10 TV Shows of the Decade

2009-12-13T18:30:00.004-07:00

As the first decade of the 2000's comes to a close, it's the perfect time to make "best of" lists. So with that, over the next few weeks I'll be making my own lists of the Top 10 movies, songs, television series, and entertainers of the decade. We begin with TV.

1. Alias (ABC, 2001-2006)
My least shocking selection. Sure it had some rough patches (season four anyone?), and it was hard for the producers to sustain such quality over five seasons, but Alias is my all-time favorite television series. I have yet to see a better episode of television than the show's pilot, and season two will absolutely blow your mind. Sydney Bristow will likely be the best role of Jennifer Garner's career, and the fact that she never won an Emmy is a travesty. She portrayed Sydney with incredible strength and vulnerability, and without her, Alias would not have succeeded. J.J. Abrams owes his career to this show. Without it, he never would've been given the creative freedom to later create sci-fi gems LOST and Star Trek. However, I contend that Alias represents his best work. I only hope that the next decade brings another show that I love this much.

2. Battlestar Galactica (Sci-Fi, 2004-2009)
Even though it's set in space with spaceships and "aliens," I never really considered Battlestar Galactica a science fiction show. It was merely television's best drama. Everything about the four season series was perfection. The writing, acting, directing, and even the special effects were sublime. However, Galactica's greatest asset was it's short run. Unlike many TV shows, Galactica knew when to hang it up, and the storytelling benefited greatly, and the show turned in one of television's most satisfying series finales ever.

3. American Idol (FOX, 2002 - present)
Television purists would lament the inclusion of reality television on a list like this, but I am not one of them. How can you ignore the biggest show of the decade, and one of the most entertaining? Sure, American Idol had a winning formula with Simon Cowell's acerbic wit, Paula Abdul's antics, Randy Jackson's gibberish, and Ryan Seacrest's "metrosexuality." However, this is a show all about the contestants. Without the talent of stars like Kelly Clarkson, Carrie Underwood, Chris Daughtry the show would have failed. It'll be interesting to see if the show can continue to churn out music's next big thing. If so, it'll likely be a ratings giant well into the next decade.

4. Everwood (WB, 2002-2006)
The most underrated show of the 2000's, probably because it aired on the WB. Everwood was Greg Berlanti's Alias. Just as the spy drama set the stage for J.J. Abrams career, Everwood cemented Berlanti's place in Hollywood. After Everwood, he'd later go on to produce the much better known Brothers & Sisters, and he's slated as the writer for 2011's The Green Lantern. As with Abrams, his lesser-known work was his best. Everwood was the ideal family drama. It was smart and funny, and didn't shy away from hot-button issues like abortion and teen pregnancy. Television needs more shows like this.

5. Veronica Mars (UPN/CW, 2004-2007)
This one falls under the category of "TV Shows Canceled Much Too Soon." A victim of poor ratings, Veronica Mars never once suffered from poor quality. Kristen Bell infused Veronica with such life and vitality that she was impossible to resist, and she delivered Veronica's trademark zingers impeccably. Plus, any show that can survive a Paris Hilton cameo in only its second episode must be pretty damn good.

6. LOST (ABC, 2004 - present)
Yes, J.J. Abrams' second best effort makes the list too. LOST started off with a bang, and its first two seasons were breathtaking. The show lost its way for a while, but got back on track when producers and the network decided the show would end in 2010 (something that Abrams' learned from Alias). The show's final season will go a long way to determining LOST's legacy, and it's still confusing as hell, but for now, it remains television's most accessible science-fiction offering.

7. Grey's Anatomy (ABC, 2005 - present)
Primetime's best soap opera. Lots of love and lots of sex, and it's completely irresistible. Like many shows on this list, Grey's started with a magnificent two season run. There have been a few bumps in the road, but the show still manages to blend medical drama with good old-fashioned love stories. It doesn't hurt that the cast including Chandra Wilson, Sandra Oh, and Ellen Pompeo turn in first-rate performances each and every week.

8. Arrested Development (FOX, 2003 - 2006)
It's probably heresy that I am listing a show that I've only seen 2/3 of, but that's a testament to Arrested Development's superior quality. Once I see the entire series, the show will probably climb its way up this list. It was one of the funniest and most original comedies to ever hit the small screen. It's groundbreaking style paved the way for other quirky, critically-acclaimed shows including 30 Rock, Modern Family, and Better Off Ted.

9. Survivor (CBS, 2000 - present)
The only show on the list that has survived the entire decade. The granddaddy of reality television, Survivor is a statement to quality equaling longevity. After nearly 20 installments, Survivor continues to cast people and create situations that bring new twists and freshness to the show. If they keep up this pace, we'll still be talking about Survivor come 2019.

10. Modern Family / Glee (ABC / FOX, 2009 - present)
Some will say it's "too soon," and I was tempted to put both of these shows even higher, but since they're only halfway through their first seasons they both land at number 10. Their addition to the television landscape has made 2009 a banner year. They're original and "side-splittingly" funny, and I cannot wait to see what they bring to the next decade.

"My Life Would Suck Without You"

2009-12-13T11:31:00.003-07:00

In celebration of Glee's fantastic fall finale, this week's quote comes from the episode's most heart-wrenching moment. SPOILER ALERT: if you haven't seen the show yet, you may want to avoid the following.

"He understood that I wasn't doing it for the kids. I was doing it for you... It's not your fault, I really messed up. He was absolutely right, I was settling for him. Really one blink from you Will, and I would have been out the door, so I e-mailed my resignation to Figgins. My last day is Monday. I just can't. I just can't be at that school. I just can't see Ken without feeling ashamed, and I can't see you without feeling heartbroken."
-Emma Pillsbury ("Sectionals")

The Roads Less Traveled

2009-12-13T11:00:00.006-07:00

Growing up is hard to do, just ask the lead characters of 2009's most-buzzed-about films, Precious: Based on the Novel 'Push' by Sapphire and An Education. Both films follow two teenage girls (Claireece Precious Jones, a 16-year-old in 1987 Harlem and Jenny, a 16-year-old in 1961 London) as they struggle to discover themselves.

Precious (Gabourey Sidibe) is a depressed, obsese, illerate teen, pregnant with her second child. She lives her mother, Mary (Mo'Nique), an abusive wretch, who treats Precious as her slave. As the film opens, Precious' confidence is so low that she rarely speaks -- the audience only hears from her through downtrodden and somber voice-overs. However, after a late night visit from her school principal Precious takes a spot in an alternative school, Each One Teach One. It's there that Precious meets a teacher, Blu Rain (Paula Patton), who encourages her to express herself through writing.

Like Precious, Jenny's story is one of self-enlightenment. Jenny (Carey Mulligan) is an above-average 16-going-on-17 London schoolgirl. She is beautiful, perky, witty, and smart. She's destined for Oxford according to her mum and dad (Cara Seymour and Alfred Molina). That's before Jenny meets a 30-something man, David (Peter Sarsgaard), who sweeps both she and her parents off their feet. David whisks Jenny across Europe, treating her to the finest in food and entertainment. It's not long before our leading lady is questioning her education, and her Oxford future.

Precious and An Education each have smart screenplays and more-than-capable directors (Lee Daniels and Lone Scherfig, respectively). However, the films belong to the actors. Sidibe is remarkable in her first role, Mo'Nique tears up the screen with fury and rage -- the Oscar is her's come February, and Mariah Carey channels raw emotion and sheds any memories of Glitter as Precious' social worker.

An Education belongs to Mulligan. Also in her first major role, she dominates every scence with girlish innocence and wavering womanhood. The comparisons to Audrey Hepburn are spot-on. However, her stellar turn would be for not if it weren't for the supporting cast. An Education reunites Mulligan with her Pride & Prejudice co-star Rosamund Pike, and Pike, as one of David's rich, oblivious friends, gives her most effortless performance to date. Screen stalwarts, Molina and Emma Thompson (playing a bullheaded headmistress), also turn in small yet memorable performances.

Even a bevy of outstanding actors can't make a fantastic film. It's the excellent material that put Precious and An Education in a league of their own. While the circumstances of the heroines are vastly different, both Precious and Jenny represent hope, and in a roundabout way, redemption. Their stories are marred with pain and heartbreak. However, both Precious and An Education will lift you up. The tales are proof, that in spite of everything, there is always a light at the end of the tunnel.

Precious, Grade: A
An Education, Grade: A-

Quote of the Week Returns

2009-12-06T13:13:00.004-07:00

This is neither relevant nor timely, but after re-watching some of my favorite Alias episodes last weekend, I remembered how much I love this scene in the season three premiere. Jennifer Garner kills it.

"I am not going say, 'I understand.' I am not going to sympathize with you and tell you how hard it must be for you. But you want to know how I am? I am horrible. Vaughn, I am ripped apart. And not because I lost you, but because, if it had been me, I would have waited. I would have found the truth. I wouldn't have given up on you. And now, I realize what an absolute waste that would have been."
-Sydney Bristow

Capsule Reviews

2009-12-05T15:44:00.001-07:00

Since I have much catching up to do, it's not worth writing full-length reviews for films that I wouldn't grade above a B. With that, three mediocre movies:

The Men Who Stare at Goats: Otherwise known as We're Just Here for the Paychecks. The all star cast of George Clooney, Ewan McGregor, Kevin Spacey, and Jeff Bridges all mail in their unfunny, boring performances. Ultimately, this "based on a true story" wasn't one worth telling. Grade: C

Law Abiding Citizen: Automatically gets downgraded for the grammatically incorrect title. Yes, I am a grammar Nazi, but someone should've caught the error. This cat-and-mouse movie about a father seeking revenge on his murdered family is a decent popcorn flick, and that's about it. To make matters worse, Gerard Butler is horribly miscast, and turns in yet another wooden performance void of personality. Grade: B-

Surrogates: A standard, yet at times thought provoking, action flick. The cast, lead by Bruce Willis, is decent, even if the age difference between Willis and his Surrogate wife (Rosamund Pike) is distracting. The ending is packaged too simplistically, but at least the concept is interesting. Grade: B-

The Comeback Kid

2009-12-05T15:08:00.004-07:00

Six months ago, in my "mini review" of The Proposal I said that Sandra Bullock made 2009 the year of the cougar. Well, I was wrong... sort of. Had it not been for critically-panned All About Steve, 2009 would be the year of Sandra Bullock. Maybe it still is. The Proposal, a generic rom-com, elevated solely by Bullock's charming performance, earned $164 million at the box office and became the highest grossing film of her career. Until The Blind Side. The feel-good football flick is tearing up the box office. Not only did it open to the best numbers of Bullock's career, but this weekend, after spending two weeks in second place, it will pass Twilight: New Moon and reign in at number one. Only one word can describe that feat: remarkable.

The Blind Side, based on the life story of professional football player Michael Oher (played in the filmed by Quinton Aaron), begins the weekend before Thanksgiving when Leigh Anne Touhy (Bullock, playing a character who could be cast in a new Bravo series, "The Real Housewives of Tennessee") takes in a homeless Oher. Leigh Anne treats Michael as one of her own children, and encourages him to work hard in school and pursue football. It's fairly predictable stuff.

Director John Lee Hancock has a great story on his hands, but only makes a decent film. The Blind Side conveniently skims over the rough spots in Oher's childhood and too often presents Leigh Anne and her family as the pitch-perfect American family. Leigh Anne is a wholesome do-gooder, her husband, Sean, (Tim McGraw) is a "whatever you say honey" guy, and their children, Collins, a smart and successful cheerleader and SJ, The Blind Side's version of Remember the Titans' Sheryl, are spotless. A few more doses of reality would have done The Blind Side well.

However, as with The Proposal, The Blind Side can thank Bullock for raising the film above its average material. This is one of the best performances of her career. It's up there with her turns in Crash and Miss Congeniality. The role as a Christian housewife fits her like a glove -- she's simultaneously refreshing and fiery. By the end of the film, I'd even forgiven Leigh Anne for being Republican. Now that's a big deal.

As great as she is, it's doubtful that Bullock will land her first Oscar nomination. Though she should be a double nominee at the Golden Globes for both The Proposal and The Blind Side. However, if 2009 proved anything, it's that you should never count Sandra Bullock out, so come February she may very well be walking the red carpet in hopes of a golden statue. Just call her the comeback kid. Correction, she's the comeback cougar.

Grade: B+

In Your Face, Simon Cowell

2009-12-02T22:24:00.002-07:00

(Bloggers Note: I've been away for a while. Between moving to a new apartment and a busted MacBook, it has been hard to find time to blog, but I'm back. There are quite a few new posts coming including reviews of Sandra Bullock's career-reviving performance in The Blind Side, Adam Lambert's surprising debut album, Leona Lewis' much-improved sophomore record, and the emotionally gut-wrenching Precious. However, I'm marking my comeback with Allison Iraheta's Just Like You.)

If Kelly Clarkson and P!nk had a love child, her name would be Allison Iraheta. The fourth-place finisher on American Idol's eighth season, the 17-year-old Iraheta has turned out an album (Just Like You) that showcases vocal pipes similar to those of the original American Idol and vulnerability identical to that of the used-to-be-pink-haired rocker.

Iraheta opens her debut effort with the rip-roaring "Friday I'll Be Over U," penned by Max Martin, who also wrote Clarkson's "Since U Been Gone" and P!nk's "So What." "Friday" is the ideal lead single for Just Like You as Iraheta's husky, raw voice takes center stage over fist-pumping guitar beats.

Iraheta, often falsely accused by Simon Cowell during her American Idol stint of lacking charisma, oozes personality throughout Just Like You. Whether she's lamenting an obnoxious boyfriend on the tongue-in-cheek "Robot Love" or giving advice on the moving "Don't Waste the Pretty," there is no doubt that Iraheta connects with her material -- and has a blast while doing it.

The album veers slightly off track with the forgettable "Pieces" and "Just Like You" and the juvenile "D is for Dangerous." However, Iraheta comes back with a vengeance on the album's second half. She embodies heartbreak as she belts, "I'm still breathing / Don't you think I'm not because you're leaving / I'm moving up and away" on "Still Breathing." Her voice soars on "No One Else," a track that P!nk ironically co-wrote. Near the album's conclusion, she sheds all comparisons and tears through the fantastic, dance-floor-worthy "Beat Me Up."

Just Like You is one of the best freshman album's to come from an American Idol alumnus. The red-haired rocker sounds impeccable, and there isn't a vocal imperfection to be found. Though in order to achieve the pop super-stardom of Clarkson and P!nk, she needs to differentiate herself on her next album. However, we should expect great things from Iraheta. After all, she is only 17.

Grade: A-

Download It: "Friday I'll Be Over U," "Beat Me Up," "Still Breathing," "No One Else"
Ditch It: "D is for Dangerous"

"It's My Turn To Be Brave"

2009-11-15T09:27:00.001-07:00

Rules are made to be broken. At least that's what they say, right? That's why this week's quote doesn't come from a politician, Meredith Grey, or a relatively unimportant pop culture personality. Sometimes the most profound statements come from those around you, and that's why today's quote comes from a friend, Tara, over at starting now.

She wrote a pretty wise post about fear this week, and here's an excerpt from the end of the post.

"The last lines of the movie (Eternal Sunshine of the Spotless Mind) are probably etched into my brain somewhere, I love them so much:

Joel: I can’t see anything that I don’t like about you.

Clementine: But you will! But you will. You know, you will think of things. And I’ll get bored with you and feel trapped because that’s what happens with me.

Joel: Okay.

Clementine: [pauses] Okay.

I’m not trying to get preachy. It’s just that I remembered today that I’d rather live my life trying things and failing and getting my heart broken and feeling all of those crazy, mixed up emotions and all the while holding on to the hope that maybe this time pushing through the fear will lead to something greater, than live my life in fear of what could go wrong.

I’d rather be brave."

You can read the beginning of the entry here.

This Is It

2009-11-08T12:13:00.001-07:00

Last night, after the House of Representatives passed the first comprehensive health care reform bill, President Barack Obama tweeted, "this is history." Truer words have never been spoken. After decades of party bickering and political posturing, Congress finally did something.

Now there's no guarantee that the Senate will pass its version of the bill, or that the final version of the bill will even work. (Of course I believe it will be successful, but there are no guarantees). However, at least it's something. It's an attempt to fix one of America's biggest problems. According to CNN, if passed, the bill "restricts insurance companies from denying coverage to anyone with a pre-existing condition or charging higher premiums based on gender or medical history. It also provides federal subsidies to those who cannot afford it and guarantees coverage for 96 percent of Americans, according to the nonpartisan Congressional Budget Office."

Maybe I am simply a crazy liberal, but I will never understand how any of those outcomes deserved the heated debate that preceded the vote. I'll never buy the "it's happening too quickly" argument. The last time I checked, taking 70 years to pass a bill didn't qualify as "quickly." I don't put stock in the "it's too costly" argument either. Congressional budget figures show the reform pays for itself. Even if it doesn't, I think we'll find a way to make it work -- this country has gone to war on less information and less budget analysis. If we can't ultimately pass a bill that is meant on helping Americans, but we can irresponsibly risk the lives of thousands of our own citizens, we have a serious problem. Don't even get me started on Utah's lone "Democrat," Jim Matheson. Come 2010, if he survives a likely inter-party challenge, I am going to have a very hard time voting for him.

With the bill's passing you have morons like Sarah Palin (can't she just go away already?) saying, "Congressional action tonight just put America on a path toward an unrecognizable country. It's on to the Senate now. Our legislators can listen now, or they can hear us in 2010. It's their choice." Are you kidding me? An unrecognizable country? In my opinion, there is nothing more American than passing a bill that will improve the lives of millions. We're Americans, we're supposed to look out for each other.

Now that the House has done it's job, we wait. Harry Reid has said that the Senate may not pass it's version of the bill until early 2010, so prepare yourself for more scare tactics and ridiculous accusations. However, this moment cannot be underestimated, we're the closest we've ever been to creating a health care system that's for the people and not for corporations or bureaucracies. The next few months could define a generation, and I am hoping that it does.

"Afterall, I'm Gonna Be Okay, So Let It Rain"

2009-11-08T11:00:00.000-07:00

"Do not let your fire go out, spark by irreplaceable spark, in the hopeless swamps of the approximate, the not-quite, the not-yet, the not-at-all. Do not let the hero in your soul perish, in lonely frustration for the life you deserved, but have never been able to reach. Check your road and the nature of your battle. The world you desired can be won. It exists, it is real, it is possible, it is yours."
-Ayn Rand

Two Are Better Than One

2009-11-06T22:46:00.000-07:00

This wouldn't be my blog without a weekly Kelly posting.

Last week, Ms. Clarkson, at her Halloween show in Missouri, poked fun at the "Ryan Tedder spat" by performing a mashup of "Already Gone" and Beyonce's "Halo." It could be better, but it still oozes awesomeness.

The video:

Grammy nominations are nearly a month away -- they'll be announced on a primetime show on December 2 -- but I can't help but pray that both "Already Gone" and "Halo" are nominated for Song of the Year. It will never happen, and "Halo" has the advantage, because Kelly shot herself in the foot with her public comments, but they're still two of the best (and my favorite) songs of 2009. Despite the controversy surrounding the backing tracks, the songs could not be more different lyrically or vocally. Kelly's is evocative and haunting while Beyonce's is hopeful and sweeping.

In reality, Kelly will likely be shut out of major categories, but I hope that Grammy producers share her tongue-in-cheek humor when planning the Grammy night performances. It would be incredible to watch two of pop music's best voices share the stage and sing the other's song. Beyonce would add an ethereal quality to "Already Gone" and Kelly could inject "Halo" with raw emotion.

I'll keep on dreaming...

(Video via mj's big blog)

If It Ain't Broke, Don't Fix It

2009-11-06T21:30:00.003-07:00

Carrie Underwood is, without a doubt, the savviest artist to hold the title of American Idol. When push comes to shove, she knows how to sell albums. On her third disc, Play On, Underwood sticks to the same multi-platinum formula of her previous two records, Some Hearts and Carnival Ride. Play On contains similar sweeping ballads, foot-stomping tell-offs, and feel-good, country-pop ditties -- albeit with different twists.

Underwood takes lead writing credit for more than half of Play On's tracks, and they're surprisingly some of the album's highlights. However, even more shocking, are the results of the collaboration between Underwood and American Idol judge, and writer of the abomination known as "No Boundaries," Kara DioGuardi. Their combined talents make magic on Play On's best track, "Undo It." Underwood plays scorned lover to perfection as she belts, "You had my heart, now I want it back / I'm startin' to see everything you lack / Boy, you blew it, you put me through it / I wanna uh-uh-uh-uh-uh undo it." The song represents Underwood's best chance at replicating the ubiquitous success of 2006's "Before He Cheats."

"Undo It" isn't Underwood's only feat. On "Quitter" she stretches and teams with pop hitmaker Max Martin (the man behind "Since U Been Gone" and "So What") to create a sweet, simple song of devotion. "Temporary Home" plays like Some Heart's "Don't Forget to Remember Me," which isn't a bad thing. She also utilizes her strengths on the man-hating "Songs Like This."

If uptempo songs are Play On's strength, then the ballads are its weakness. "Unapologize" is the album's best, but even it has a country rock feel. "Mama's Song" starts strong but fails to deliver necessary emotional heft. "Change" is the disc's most grievous misstep. Not even Underwood's pristine and powerful voice can save a song with lyrics of "What ya gonna do with 36 cents/ Sticky with Coke on your floorboard?."

Play On will appease any Underwood fan, but it also won't win her any new ones. With Taylor Swift nipping at her Prada heels, Underwood needs to sing outside the lines on her next effort to continue her reign as country music's queen. With her undeniable talent and a few calculated risks, she has the potential to make a crossover record as successful and iconic as Shania Twain's Come On Over.

Grade: B

Download It: "Cowboy Casanova," "Undo It," "Songs Like This," "Quitter"
Ditch It: "Change," "Look At Me"

"I'll Take a Risk, Take a Chance, Make a Change"

2009-11-01T11:03:00.002-07:00

Because I didn't post my usual sappy quote last week, and to celebrate the rejuvenation of Grey's Anatomy, two quotes from America's favorite medical drama today:

"A couple of hundred years ago, Benjamin Franklin shared with the world the secret of his success. Never leave that till tomorrow, he said, which you can do today. This is the man who discovered electricity. You think more people would listen to what he had to say. I don't know why we put things off, but if I had to guess, I'd have to say it has a lot to do with fear. Fear of failure, fear of rejection, sometimes the fear is just of making a decision, because what if you're wrong? What if you're making a mistake you can't undo? The early bird catches the worm. A stitch in time saves nine. He who hesitates is lost. We can't pretend we hadn't been told. We've all heard the proverbs, heard the philosophers, heard our grandparents warning us about wasted time, heard the damn poets urging us to seize the day. Still sometimes we have to see for ourselves. We have to make our own mistakes. We have to learn our own lessons. We have to sweep today's possibility under tomorrow's rug until we can't anymore. Until we finally understand for ourselves what Benjamin Franklin really meant. That knowing is better than wondering, that waking is better than sleeping, and even the biggest failure, even the worst, beat the hell out of never trying."
-Meredith Grey

The next exchange sums up what I want to yell at the Mormon church right about now.

Mr. Torres: “Leviticus: ‘Thou shalt not lie with a man as one lies with a female. It is an abomination.’”
Callie: “Oh, don’t do that, Daddy. Don’t quote the Bible at me.”
Dad: “The outcry of Sodom and Gomorrah is great, and their sin is exceedingly grave.”
Callie: “Jesus: ‘A new commandment that I give unto you, that you love one another.’”
Dad: “Romans: ‘But we know that—’”
Callie: “Jesus: ‘He who is without sin among you, let him cast the first stone.’”
Dad: “So you admit it is a sin—”
Callie: “Blessed are the merciful for they shall obtain mercy. Jesus: ‘Blessed are the pure in heart for they shall see God.’ Jesus: ‘Blessed are those who have been persecuted for righteousness sake for theirs is the kingdom of heaven.’ Jesus is my savior Daddy, not you. And Jesus would be ashamed of you for judging me. He would be ashamed of you for turning your back on me. He would be ashamed.”

Where the Heart Is

2009-10-18T14:03:00.001-06:00

Where the Wild Things Are isn't a movie made for children. It's a movie for the 20- to 30-somethings who grew up with Maurice Sendak's 350-word adventure. Director Spike Jones brings the the classic children's book to life in a way that is both visually stunning and emotionally affecting.

Max (Max Records) is a rambunctious, mischievous boy who feels scorned by his teenage sister, for letting her friends destory his ice castle, and mother (the always reliable Catherine Keener), for spending time with her new boyfriend. After a night of defiance, where he bites his mother, Max sets off on a journey, donned in his iconic wolf costume, to become king of the Wild Things.

Jonze's throughout the movie directorial choices are spot-on. He and and his screenwriting partner Dave Eggers deserve ridiculous praise for maintaining the tone of Sendak's story while injecting the film with original concepts. Jonze gives the brilliantly constructed Wild Things (designed with meticulous accuracy by Jim Henson's Creature Shop) names and personalities that add depth and heft to the story. He also showcases excellent judgment by handing the musical reigns to Karen O and Carter Burwell who turn in a score that is playful, melancholy, and entirely enchanting.

However, Jonze's direction would be nothing without the bravura performance of Records. The young star delivers the same type of spectacular performance that launched the careers of fellow child actors Dakota Fanning (I Am Sam), Abigail Breslin (Little Miss Sunshine), and Freddie Highmore (Finding Neverland). He carries the film, and watching him bring such a beloved literary character to life is remarkable.

Where the Wild Things Are is, without a doubt, one of the best films of the year. Not only will it touch your heart, but it will help you remember how to live and love life with reckless, childhood abandon.

Grade: A

"Takin' the Long Way Around"

2009-10-18T10:56:00.000-06:00

This week's quote is a passage from one of my favorite books, Wicked: The Life and Times of the Wicked Witch of the West.

"She would emerge. She always had before. The punishing political climate of Oz had beat her down, dried her up, tossed her away -- like a seedling she had drifted, apparently too desiccated ever to take root. But surely the curse was on the land of Oz, not on her. Though Oz had given her a twisted life, hadn't it also made her capable?"

Oops! She Did It Again

2009-10-17T20:54:00.002-06:00

It's not news to anyone, but Britney Spears is back. This week, Britney became the first artist in over a decade to debut a "non-American Idol coronation song" at No. 1 on the Billboard Hot 100. The last artist to do so was Lauryn Hill with "Doo Wop (That Thing)" in November 1998.

Britney's new song, "3" is an absolute trash fest, and I'm not just talking about the song's subject. Though Britney has reached new skanky heights by singing about the appeal of threesomes. I don't even know if you can call "3" a song. It hardly has a hook and Britney's goat bleating (aka singing) is at its worst. The song's appeal is dumbfounding. I'd rather listen Sanjaya Malakar cover No Doubt's "Bathwater." Oh wait, that already happened.

Now I'm not one to have superior musical taste. I have Britney songs like "Oops! I Did it Again" and "Lucky" on my iPod. (At least Britney attempted to have a voice back then.) However, her new "music" has jumped the shark. Sure, "Womanizer" and "Gimme More" were "foot tap" worthy, but don't get me started on "Radar" and "If U Seek Amy."

I'm not sure what Britney's recent success says about the music industry. We live in a time where singers rely on synthesizers and vocal modulation. Some don't even bother to try and sing live (Britney!) while others try but sound heinous (I'm looking at you Katy Perry). Again, I am as big offender as anyone when it comes to falling for catchy music, but when the most talented new singers of the last decade come from reality television, I think we have a problem.

So even though Britney is a talentless hack, at least we have Kelly Clarkson. (You didn't really think I'd write a post on music without bringing her into the mix, did you? Come on now. Lets be serious.) On her new tour, she covers (and absolutely kills) the White Stripes' "7 Nation Army," and shows why there is still hope for the future of pop music. Watch the video below and enjoy.

Abnormally Great

2009-10-17T19:26:00.002-06:00

Not since the Blair Witch Project has a horror flick been marketed as ingeniously as Paranormal Activity. Released nationwide this weekend, solely because of online demand from fans, Paranormal Activity is making a killing at the box office -- already grossing more than 1,800 times its paltry $11,000 budget. The film's styling and tone draw obvious and warranted comparisons to Blair Witch, but Paranormal Activity is far to superior to its 10-year-old predecessor.

The two-hour fright fest is set exclusively in the San Diego home of Micah Sloat and Katie Featherston. The movie begins with Micah purchasing an upscale video camera, so he can record the noises and sounds that Katie claims have haunted her since age eight. The scares start slowly, but they build as Micah ignores Katie's fears and encourages the supernatural happenings.

Some will say that the film's pacing is too slow, but that's what makes it so great. Paranormal Activity draws you in as you begin to understand Katie and Micah's relationship. Once the film has you hooked, it preys on your instinctual fears and vulnerabilities, making the fear that much more palatable.

Like summer hits District 9 and (500) Days of Summer, Paranormal Activity is one of the recent quality films, made on a modest budget, that has deservedly struck gold at the box office. If anything, Paranormal Activity proves that horror films can scare up a whole lot of dough, without all the blood and guts.

Grade: A-

The Truth Hurts

2009-10-17T16:20:00.002-06:00

Last fall, Ricky Gervais headlined Ghost Town, a surprisingly funny romantic comedy about a man who sees ghosts. This fall, Gervais is back, this time as both director and lead actor, with another quirky rom-com about a world where no one can lie and everyone says what they think. However, The Invention of Lying, while funny at times, doesn't live up to it's one-of-a-kind concept.

Gervais plays Mark Bellison, a frumpy, down-on-his-luck screenwriter. Since it's a world without lying (and imagniation), Mark's screenplays are dry historical documentaries. Pretty exciting stuff. After Mark gets rejected by the woman of his dreams (Jennifer Garner), belittled by his snappy coworkers (Tina Fey and Rob Lowe), and fired from his job, he tells the world's first lie. Mark's fibs make him famous, and without giving away too much, a large portion of the film is a commentary on religion and the afterlife.

Anyone who has watched an award show during the past few years knows that Gervais is a comedic all-star. His delivery is spot-on and he knows how to make the most scathing one-liners endearing. While he's an excellent comedian, Gervais' directorial skills need some work. The Invention of Lying suffers from an identity crisis. The film waffles between romantic comedy and biting satire, and doesn't succeed fully on either front.

The supporting cast is stellar and elevates the muddy material. Jennifer Garner mails in her go-to, girl next door persona (perfected in 13 Going on 30), Tina Fey is, well, Tina Fey, and there are quite a few funny cameos from a smattering of stars including Edward Norton and Philip Seymour Hoffman. Though not even a cast this loaded can completely save the film.

There is a strong message to be found in The Invention of Lying, but it's just not as powerful as it should be. However, truthfully speaking, let's hope Gervais' is back soon with a comedy that delivers on his award show potential.

Grade: B

Congratulations Are in Order

2009-10-09T19:02:00.006-06:00

Bloggers Note: Those who know me, know that I like to keep my political commentaries open-minded, rational, and level-headed. However, this will be no such post. If you're a conservative, a closed-minded partisan, or a "political ambivalent" you best stay away. Consider yourself warned.

By now everyone is aware that U.S. President Barack Obama won the Nobel Peace Prize this morning. The award is a great honor and a coup for the U.S. -- or so I thought. Upon hearing the news, the Internet exploded in a heated debate. My facebook newsfeed, which is supposedly populated heavily by liberals included the following statements:

"can't believe that man won. the world blows my mind."
"how the hell did Obama win? really? he hasn't done anything."
"can't really understand why Obama won. what is the world coming to?"

I don't want to debate Obama's credentials for the Nobel Peace Prize. I think the committee chose Obama because of his phenomenal potential, and I have no doubt that the President will do his best to live up to the award. (The Huffington Post has a great piece on the Nobel Committee awarding the Piece Prize based on potential here.) I don't understand why the public cannot congratulate the man on the achievement and move on. The feverish skepticism set me off. After months of remaining silent, I am "mad as hell, and I'm not going to take this anymore."

This rant is probably more about a few fickle Democrats than the Republicans, so my blogger's note may be for not. However, I am livid with those who continually complain about President Obama "not doing anything." The man has been President for nine months. Count them. NINE. He still has at least 39 more months in office. Yes, Obama had big campaign promises. Yes, he promised change in Washington, but can you please name a President that has made radical differences in nine months? We all knew that Obama's biggest weakness was his lack of experience. It wasn't a secret. We all knew what we were getting when we voted. The decades-old Washington machine is well-oiled. It's going to take more than one man, and 3/4 of a year to change it.

Maybe its Obama's fault for setting expectations too high, but has he really done nothing? Thanks to Obama, the discussion of health care reform has come further than ever. The system has been messed up for decades and Obama is finally stepping up to the plate and trying to get something done. Reforming health care is a pretty big deal.

Who knows, I could be completely crazy, but do I blame Obama for lack of progress? Absolutely not. I blame Congress (aka the opposite of PRO-GRESS) -- the old boy's club that hasn't accomplished anything in what seems like forever. The President has a myriad of issues to tackle - it's going to take time. I for one, still believe in the him. (As a side note, for all those complainers, change rarely happens on the national level -- it's ALWAYS slow and painful. If you want to make change -- get involved in local government, contact your state legislator, vote in municipal elections. Please.)

I said it when I was 16-years-old and I'll say it again, I want a President who knows how to lead and who can inspire a nation. President Obama is still that man. We live in a world full of cynicism and doubt, and I could be naive, but I am still choosing hope, because at the end of the day, that's a lot better than the alternative.

The Second Coming

2009-10-05T09:18:00.004-06:00

I shouldn't be posting during the work day, but I couldn't resist, this is a big deal -- Allison Iraheta, my favorite American Idol from last season leaked her first single today, and it's a good one. Iraheta, despite Simon Cowell's criticisms, is the most talented teenage belter (sorry Jordin Sparks and David Archuleta) to come out of American Idol and "Friday I'll Be Over U" is her first step to becoming the next P!nk. The song, penned by ultimate hit maker Max Martin, the man behind Kelly Clarkson's "Since U Been Gone," P!nk's "So What," and Katy Perry's "Hot 'N Cold," is simple, catchy, and showcases Allison's raw, husky tone. If anything, the song is a promising hint at what her album, coming out this December, will sound like.

Take a listen here.

"You Can Count on My Love"

2009-10-04T09:51:00.004-06:00

A shout out to all my friends, especially those who are 2,500 miles away. From Winnie the Pooh of all places.

"If ever there is a tomorrow when we're not together, there is something you must always remember: you are braver than you believe, stronger than you seem, and smarter than you think, but the most important thing is, even if we're apart, I'll always be with you."
-Winnie the Pooh

Rule #1: See Zombieland

2009-10-03T14:44:00.000-06:00

Rules are made to be broken, and that's why Zombieland, Hollywood's latest "zombie comedy," succeeds. In making Zombieland, Director Ruben Fleischer threw convention out the window, and the result is a movie that's a killer good time.

Our protagonist is Columbus, a rule-obsessed virgin in search of his family. Played by Jesse Eisenberg, Hollywood's new go-to geek (sorry, Michael Cera, your ship has sailed), Columbus neurotically lives by a long list of rules regarding the undead. For example, the most obvious rule is "do cardio" because fatties can't outrun zombies. Watching Columbus' rules play out over 80 minutes is part of Zombieland's massive appeal.

During his time as a lone wolf, Columbus meets Tallahassee (Woody Harrelson), a crazy-eyed, zombie killer on the hunt for the world's last twinkie. (The characters in Zombieland don't refer to each other by their first name, just their geographic locations, as to not get too attached.) While searching for the calorie-laden Hostess snack, Columbus and Tallahassee meet Witchita and Little Rock (Emma Stone and Little Miss Sunshine, Abigail Breslin), two manipulative and savvy sisters.

The group of misfits soon bands together and travels to (where else?) a Southern California amusement park. Their adventures are littered with hilarious zombie encounters and pop culture references. The jokes poke fun at everything and everyone from facebook to Russell Crowe, Hannah Montana even merits a references. Though I'll keep Zombieland's best pop culture encounter a secret, but it'll definitely leave you in stitches.

While it'll never win an Academy Award, Zombieland is a bloody good way to spend a night with the living dead.

Grade: B+

"You Know that I Could Use Somebody"

2009-10-03T10:44:00.002-06:00

Kelly Clarkson launched her "All I Ever Wanted" tour yesterday, and rather than bitch about how sad I am that I can't see her, I'll just post tour videos periodically. Thank God for YouTube.

Here she is singing a mash-up of Alanis Morissette's "That I Would Be Good" and Kings of Leon's "Use Somebody" (one of my favorite songs of the year). Pretty awesome.

Enjoy.

via mj's big blog.

Thoughts on the Season

2009-09-28T22:42:00.001-06:00

We're one week into the fall television season and here are my unsolicited opinions...

Monday
Gossip Girl: Rinse and repeat, and you have the third season of Gossip Girl. We've been here before. Blair's a bitch, Chuck is a scandal, and Serena doesn't know what she's doing. Gossip Girl is losing its trademark bite and I am quickly losing interest. The show needs to shake things up, and the characters need to show some growth or a breakup is imminent. Grade: C+

Heroes: I couldn't bring myself to do it. After two seasons of crap, I couldn't sit through another season hoping the show reclaimed its season one glory. Grade: Divorced

Tuesday
The Good Wife: Welcome to Judging Amy: Round Two. Four years after CBS unceremoniously canceled the drama about a single mom managing her law career and family, the network is back to try again. This time Juliana Margulies plays a lawyer (not a judge), once again, finding her way in the workforce. Margulies is made for the role, and the show couldn't ask for a better supporting cast including Christine Baranksi and Josh Charles. Throw in the political timeliness and this one is bound for ratings success (just like Judging Amy). Grade: B+

Wednesday
So You Think You Can Dance: Reality shows are hard to grade in the beginning. They usually don't hit their stride until midway through the season -- once the audience has a chance to become attached to the contestants. With that said, So You Think You Can Dance isn't suffering from summer fatigue. In its sixth season, the judges are still spot on and America doesn't appear to be running out of talented dancers. Grade: B+

Glee: The High School Musical references don't do this show justice. It's smart and funny with a cast that oozes musical, comedic, and dramatic talent -- everything that High School Musical wasn't. Plus, the most recent episode proved that the show can thrive without relying on the musical numbers. The only concern I have is the plot's light speed pacing (the same problem that creator Ryan Murphy's had with his last show, Nip Tuck). Even with those concerns, I'll definitely be long for the ride. Grade: A

Modern Family: This one has huge potential. After only one episode, it's the only show on television (besides Glee) that will make me laugh out loud. The cast is pitch perfect and the writing is witty and fun. Without spoiling anything, lets just say The Lion King scene will be with me forever. Hopefully the rest of the series can keep up with the stellar pilot. Grade: A

Thursday
Project Runway: Technically not a fall show, but six episodes into its sixth season, Project Runway has found its stride. The changes of shooting location (from New York to L.A.) and network (from Bravo to Lifetime) haven't hampered the show's quality. Plus, this season's cast seems more talented and memorable than recent casts. Though the season's highest point has to be the transformation of Heidi Klum from a pretty, former fashion model into a funny and reliable host. However, the show loses points for the plethora of guest judges. Where are Nina and Michael? Grade: A-

Survivor: Like So You Think You Can Dance, it's hard to grade reality shows after only a couple of episodes, but Survivor appears headed on the right track. Already, there are several memorable personalities (Shambo, Russell, and Yasmin), and after 19 seasons the show still isn't stale. The producers propensity to focus all the camera time on one tribe this season is a minor cause for concern. Grade: B+

FlashForward: High concept dramas are risky, and FlashForward is no exception. The show might play better as a miniseries, but only time will tell. The pilot had a few dead spots and all-too-convenient plot twists, but Joseph Fiennes and Sonya Walger are the fall's most promising new lead actors. Grade: B

Grey's Anatomy: Merridith Grey is consistently touted as one of the most annoying characters on television, but I love her anyway. Maybe it's because we have so much in common, but it's my love for the title character that allows me to forgive Grey's all it's mistakes -- like 2/3 of last season. This season started well, and regardless of the backstage drama, killing George off was a great move for the series. Grade: A-

Community: I am going to take flack for this one, but the pilot wasn't great. Not a single laugh out loud moment. Joel McHale is great in The Soup, but while the concept is original, Community tries far too hard to be funny. Grade: B-

Sunday
The Amazing Race: There's a reason Race has won the "Best Reality Show Competition" Emmy for seven years straight. The show has never had a bad episode, but the "twist" in the season premiere was rather lame. Otherwise, it appears to be another solid season ahead for the greatest race around the world. Grade: A-

Desperate Housewives: Housewives always starts with a bang and ends with a whimper, and this season seems no different. Marc Cherry cannot come up with a solid, season long mystery to save his life. That said, the show is still good for a laugh or two, and Eva Longoria Parker continues to be Housewives' unsung MVP. Grade: B+

Brothers & Sisters: Pros from the season premiere: lots of Nora/Holly fighting, no sign of Ryan, lots of Walker family interaction that wasn't around a dinner table, and the show's most boring character (Tommy) is gone for good. Cons from the season premiere: the disappearance of Sarah Walker, Rob Lowe's horrendous hair, and the car crash fake-out. All in all, my favorite family drama is off to a much better start this season than last. Grade: A-

"Gotta Live Like We're Dying"

2009-09-27T09:29:00.000-06:00

"Take chances, make mistakes. That's how you grow. Pain nourishes your courage. You have to fail in order to practice being brave."

-Mary Tyler Moore

Short and (Not Really) Sweet

2009-09-26T20:58:00.001-06:00

I'm a sucker for a good performance. However, a good performance does not make a good movie, as is the case with Matt Damon and The Informant!

In the flick, Damon plays bumbling, corporate-whistle-blower Mark Whitacre. The Informant! is based on the real-life Mark Whitacre's adventures as an FBI informant at ADM, an agri-business giant suspected of price-fixing.

Even at 108 minutes, The Informant! drags. As as the director of Oceans 11, 12, and 13, Steven Soderbergh knows how to make a great quirky/funny crime film, but he misses the mark. Even the set design, costumes, and graphics feel wrong. The film is set in the slick corporate world of the 90s, but it has the look of bad 70s polyester. Even Whitacre's experience as an informant is neither funny nor suspenseful. The best parts of the satire are Damon's voice overs that bring the audience into Whitacre's bizarre mind. Damon's voice is extremely nuanced and the slightest inflection will make you chuckle.

However, that's the problem with The Informant!, it's a movie that wants to make you laugh out loud, but will only get a giggle or two.

Grade: B-

The Jay Leno Problem

2009-09-26T16:49:00.002-06:00

NBC is screwed. Last year, Jeff Zucker, President & CEO of NBC Universal, announced the (inane) idea of abandoning scripted programming during the 10/9 p.m. in favor of a Jay Leno "variety" show. The move was solely economics. When a network doesn't have to pay a host of actors, writers, producers, cameramen, etc., it saves a ton of cash, and through those savings it makes more money, right? Not so fast.

Television is all about the advertising. End of story. If people don't watch a show, advertisers don't pay, and the show gets canceled. Simple as that. Given, even with paltry ratings, The Jay Leno Show might turn a huge profit for NBC. However, even if the show does make money, which seems questionable, it will be a short-sighted profit at best. Television has always been, and will always be, about quality programming.

In the digital age, networks cannot expect Joe Q. Public to tune into the same program every night -- there are too many other options. That's why the Jay Leno experiment was dead before it started. The show debuted to more than 18 million viewers, but in only two weeks ratings have declined by more than 70 percent. Not good.

Only a week into the "official" television season, NBC has a huge problem on its hands. It has devoted so much programming time to The Jay Leno Show that it is nearly impossible to salvage the 2009/10 schedule. None of the scripted shows can bomb because the network doesn't have enough in development to replace a failed drama or comedy.

Lucky for NBC, it has Olympics in February (always a ratings stalwart) to help bolster the season. However, the network desperately needs an intervention before the sports extravaganza arrives. There isn't enough time to completely revamp the fall schedule, but here is what I'd do come December (unfortunately, there aren't enough developed shows to completely take The Jay Leno Show off the air or even reduce it to one airing a week):

Jason's NBC (winter) Fix:

Monday:
7 p.m.: Heroes
8 p.m.: Day One
9 p.m.: Southland

What's different: Heroes stays on the air (unfortunately) and Southland moves to Mondays at 9 p.m.

Tuesday:
7 p.m.: Chuck
8:00 p.m.: The Biggest Loser
9 p.m.: Law & Order: Special Victims Unit (SVU)

What's different: Chuck relocates from Mondays, The Biggest Loser shrinks from two hours to (a much more manageable) one, and SVU moves back to its successful Tuesday night stomping grounds.

Wednesday:
7 p.m.: Mercy
8 p.m.: 100 Questions
8:30 p.m.: The Best of NBC
9 p.m.: The Jay Leno Show

What's different: 100 Questions premieres on Wednesday instead of Tuesday. NBC launches The Best of NBC, featuring a classic episode of a different "Must See TV" comedy each week (The Cosby Show, Seinfeld, Friends, Mad About You, etc.)

Thursday:
7:00 p.m.: Community
7:30 p.m.: Parks & Recreation
8:00 p.m: The Office
8:30 p.m.: 30 Rock
9 p.m.: Parenthood

What's different: Parenthood is fast tracked and debuts in the same time slot as other great NBC dramas like Hill Street Blues and ER. (Ideally, the producers would convince Helen Hunt to join the drama in time for a December/January launch).

Friday:
7 p.m.: The Marriage Ref
8 p.m.: Law & Order
9 p.m.: The Jay Leno Show

What's different: The Marriage Ref launches on Fridays and Law & Order moves back an hour.

Saturday:
7 p.m.: Crime Show Repeat
8 p.m.: Crime Show Repeat
9 p.m.: Crime Show Repeat

What's different: Not a thing.

Sunday:
6 p.m.: Dateline NBC
7 p.m.: Trauma
8 p.m.: The Apprentice

What's different: Trauma relocates from its fall time slot of Mondays at 8:00 p.m.

NBC's proposed winter schedule can be found here. Don't worry, mine is better. I am back Monday with initial reactions to all of the shows I've been watching this fall.

"Quote" of the Week

2009-09-20T09:15:00.002-06:00

It's week two of "Quote of the Week," and I've already moved on to quoting melodramatic pop songs. The lyrics below come from Leona Lewis' syrupy new ballad, "Happy" (another future Top 40 hit penned by Kelly-Clarkson-backstabber Ryan Tedder).

"I can’t stand by the side
And watch this life pass me by
Pass me by

So what if it hurts me?
So what if I break down?
So what if this world just throws me off the edge?
My feet run out of ground
I gotta find my place
I wanna hear my sound
Don’t care about all the pain in front of me
'Cause I’m just trying to be happy"

An Open Letter to Jennifer Garner

2009-09-19T23:54:00.006-06:00

Dear Mrs. Affleck:

Hopefully this doesn't make Ben jealous, but I've been in love with you for a long time.

You had me at the red wig. (Actually the red wig wasn't the first time we met, I distinctly remember you in Aftershock: Earthquake in New York, but let's pretend.) After Sydney Bristow/Alias/you entered my life, you could do no wrong: I rushed home from my Grandma's funeral so I didn't miss Alias' third season finale (I needed to keep up my streak of never missing an episode in real-time), I saw you test your comic chops in 13 Going on 30 on opening day (and boy, were you great), I was one of the few people that enjoyed (and own) Daredevil, and I saw the travesty that was Elektra in the theater twice (!) so that I could help your box office clout. In fact, you (or maybe just your cleavage) were plastered all over my dorm room in college. Obviously, I was smitten.

However, when Alias ended, your career choices had me concerned. (Not that your cinematic endeavors during Alias were great.) First, there was Catch and Release, your would-be coming-out-party as America's next rom-com star. Instead, it was two hours of "how creatively can Susannah Grant hide Jennifer's baby bump." Next came The Kingdom, which received decent reviews, but I actually never saw. I'll take the blame for that one. I was starting to sweat bullets when it came to your future prospects. Then came Juno.

Oh, how I was so happy about Juno. Your subtle, heartfelt performance showed the world what I already knew: that you are a superb actress who can be more than a butt-kicking bad-ass. Despite my bias, your performance grounded that film, and you were robbed of both Golden Globe and Academy Award nominations.

Once again, I thought, "Jennifer is on the path to greatness." Not so fast. For whatever reason, you decided to costar with Hollywood man-boy Matthew McConaughey in Ghosts of Girlfriends Past. I was thisclose to seeing the film, but I refused. Matthew McConaughey, Jennifer, really? You're so much better than Kate Hudson.

Now you have two more films coming out soon, and I am uneasy.

First, The Invention of Lying hits theaters later this month. The trailer is unimpressive and the jokes are amusing, but far from laugh-out-loud worthy. However, Ricky Gervais' last film, Ghost Town, had the same lackluster trailer problem, and yet it was one of 2008's most enjoyable films. Though Lying's cast is great and you're charming as always (though bangs really aren't your best look), so I am keeping my fingers crossed.

I'm more concerned with February's Valentine's Day. Romantic comedies aren't your best vehicle, and this one appears to be the not-as-good American interpretation of Love, Actually, which may be the most overrated romantic movie of all-time (well, except for The Notebook). You're surrounded by some of Hollywood's A-list (Julia Roberts, Anne Hathaway, and Jamie Foxx), so I can't blame you for taking the role. Plus it's a pseudo Alias reunion for you and Bradley Cooper, and I'd never complain about that.

Maybe I'm paranoid, and you still have another Oscar-worthy role up your sleeve. At least I'm hoping so. Please, look for another Juno, a movie where you can showcase your dramatic range while keeping your trademark sweetness.

Regardless, I'll still see your films because, after all, you were Sydney Bristow.

Love always,
Jason

Remember, Remember

2009-09-17T12:25:00.004-06:00

This blog started as a way for me to talk about the two things I love, entertainment and politics, and lately it's turning into an arbitrary collection of thoughts. At least The Informant! comes out this weekend and that'll bring back the movie chatter. Or maybe I'll just write about how amazing Glee is. We'll see.

Anyway, I'm posting this because it's life advice that I need to never forget:

Elizabeth: "Stop putting your life on hold for other people and letting them dictate your timeline..."

Short, simple, and just what I needed to hear.

Quote of the Week, Part Two

2009-09-14T19:41:00.003-06:00

Quotes are cheesy, but so am I, so I think they have a place here, at least for the time being. However, by request, I'll give this one a little more background.

The other day, for whatever reason (I must've been bored), I was thinking about which of the seven deadly sins I am most guilty of. I came to the conclusion that I am, without a doubt, envy. I am green through and through.

When a friend gets their dream job, my reaction? Feign excitement while I secretly wish I was in their shoes. What happened when a classmate received an A- and I got a B+? I concluded that they must've been lucky because they inevitably didn't work as hard as I did. Even when the student loan bills come every month, I can't help but wish I would've been born to the wealth of a Huntsman or a Kennedy. Obviously, every situation is met with varying degrees of the fatal flaw, but you get the idea.

Anyway, I ran upon this quote tonight:

"Jealousy is simply and clearly the fear that you do not have value. Jealousy scans for evidence to prove the point - that others will be preferred and rewarded more than you. There is only one alternative - self-value. If you cannot love yourself, you will not believe that you are loved. You will always think it's a mistake or luck. Take your eyes off others and turn the scanner within. Find the seeds of your jealousy, clear the old voices and experiences. Put all the energy into building your personal and emotional security. Then you will be the one others envy, and you can remember the pain and reach out to them." - Jennifer James

It's definitely something to think about.

"I'm Out Here on My Journey, Trying to Make the Most of It"

2009-09-14T19:24:00.004-06:00

I find it funny that even four years after it was released, I still relate to and love a Dolly Parton song from a movie about a transsexual woman. At least I keep things interesting.

It's My Blog and I'll Do What I Want To

2009-09-13T20:35:00.002-06:00

This is why I love my friends (slightly edited for your enjoyment).

Elizabeth:
what a tease -- you finally post a blog entry that's not a movie review or something about the industry, as if you're going to give a glimpse into your personal life and you give no explanation, no further discussion and no promise of more
boooooooooooo
maybe i won't be a loyal reader anymore

Jason:
HAHAHAHAHA
you post quotes!

Elizabeth:
yes but mine is just random things that pop into my head
it isn't a movie review site
and i also do have plenty that are insight into my head
quotes/lyrics/etc aren't awkward and incongruent in my blog
in yours, it is
5 movie reviews, random meredith gray quote, back to 3 more movie reviews
like..........what??

Jason:
wellllllll
I figured I would start doing a quote of the week
just because I want to
and I figured since it was a tv quote
it related

Elizabeth:
maybe after reading your entries, i've felt inclined to review things
i reviewed your blog
normally A-, right now C
you need to commit one way or another
are you an impersonal, semi-pretentious but in an endearing way, movie critic
or are you going to have other things and/or insight into your life

Jason:
I think I may post this conversation in my blog

Elizabeth:
GO FOR IT, at least it'll make the damn quote stick out less
now you'll have TWO things that aren't critiques

Save the Dolls, Save the World

2009-09-13T16:38:00.001-06:00

Animated movies get a bad rap. No matter the subject or content they're dismissed as juvenile by American audiences. 9 tries and succeeds in being one of the few animated films that adults shouldn't feel guilty enjoying.

The apocalypse has come, and nearly all living things are dead, save for nine tattered, doll-like creatures, each identified by the numeral etched into their back. Each has distinct characteristics that help in their quest to bring down "the machine" that brought the destruction of humanity. For example, 9 (Elijah Wood) is endlessly caring and devoted, 7 (Jennifer Connelly) is a Syndey-Bristow-esque, butt-kicking female, and 1 (Christopher Plummer) is the old change-resistant curmudgeon.

While the visuals and content may be a little too intense for the youngsters, 9 succeeds on tried-and-true themes of teamwork and cooperation. The animation is nothing short of spectacular. The creatures and their world are impeccable, and to use an animation-review cliché, incredibly lifelike. While the action is lighter than would have been preferred, 9 ends on a note that is surprisingly touching and heartfelt. And clocking in at only 79 minutes, 9 is one of the few films of the modern era that will leave you wishing it were longer.

Grade: B+

Funny Because It's True

2009-09-13T16:01:00.001-06:00

The government is run by a bunch of bumbling idiots. At least that's what the director of In the Loop, Armando Iannucci, wants you to think. Though given what the world has gone through for nearly the last decade, I'm inclined to agree.

Simon Foster (Tom Hollander), the British Minister for International Development, may be In the Loop's biggest moron. When he calls the prospect of war "unforeseeable" that sets of a chain reaction of fury beginning with the Prime Minister's f-bomb toting director of communications, Malcom Tucker (Peter Calpadi). Add the United States to the mix, including a lovestruck state department official (Mimi Kennedy), a politically ambitious general (James Gandolfini), and a low-level staffer who is the only voice of reason (Anna Chlumsky) and you have a recipe for disaster -- or in today's world a recipe for war.

Though it's not "based on a true story," In the Loop takes obvious and searing jabs and former President George W. Bush and Prime Minister Tony Blair and their behavior surrounding the invasion of Iraq. Given that much of the humor is (slightly) based on the truth, that makes the entire thing a little difficult to stomach.

On the whole, the cast of relative unknowns and supporting actors shines. Kennedy, best known as Dharma's mom on Dharma & Greg, is perfection as the official willing to throw her career away based on principle (Colin Powell anyone?). Chlumsky (welcome back My Girl, it's been a while) strikes the right balance between sexy and smart. However, Calpadi steals the show, and is downright sidesplitting as obscenities flow from his lips.

While real life isn't quite this funny, anyone with any sort of affinity for politics should see this, if only to stay in the loop.

Grade: A-

Just Plain Glorious

2009-09-13T15:05:00.003-06:00

I'll be the first to say that I am not a Quentin Tarantino fan. Heresy, I know. The Kill Bill films are overrated and I have never bothered to see Pulp Fiction or Grindhouse. I am not one for gratuitous violence and the films seem downright campy. However, after seeing Inglourious Basterds I take that all back.

Set during World War II, Basterds follows two "rebels" as they attempt to bring down the Nazis. The first being Shoshanna (Mélanie Laurent), an owner of a French cinema, who when she was younger, witnessed the slaughter of her family at the hands of Nazi colonel Hans Landa (Christoph Waltz) -- "the Jew Hunter" as the movie so lovingly calls him. The other renegade, if you will, is Lieutenant Aldo Raine (Brad Pitt), who leads a group of Jewish soldiers on a mission to scalp as many Nazis as possible (and this being a Tarantino film, yes, you see the scalping).

Watching Inglourious Basterds does require the viewer to suspend reality, as Tarantino completely disregards the historical implications of World War II. However, even with (and maybe because of) the major inaccuracies, Basterds is a whole lot of fun. The cast relishes Tarantino's script, and Pitt and Waltz are particularly superb. At first, Pitt's backwoods southern drawl is grating, but by Basterds' conclusion his Lieutenant Raine is an endearing "American hero." As it stands right now, Waltz has an Academy Award nomination (and maybe a win) locked up. Landa is the film's backbone as he's both amusing and unequivocally terrifying.

The major flaw with Basterds is the pacing. The film is too long, and the two best scenes come at the beginning and end. Maybe it's the brilliance of those scenes that makes the rest of the movie not-as-great, but Tarantino does get bogged down in awkward transitions and endless dialogue. Even for a film-goer with a queasy stomach, like myself, Inglourious Basterds makes the scalping worth it.

Grade: A-*

*upgraded from the original grade of B+ to an A- after a second viewing.

A Day of Many Entires

2009-09-13T14:41:00.001-06:00

And it will begin with a quote:

"At the end of the day, when it comes down to it, all we really want is to be close to somebody. So this thing, where we all keep our distance and pretend not to care about each other, is usually a load of bull. So we pick and choose who we want to remain close to, and once we've chosen those people, we tend to stick close by. No matter how much we hurt them, the people that are still with you at the end of the day - those are the ones worth keeping. And sure, sometimes close can be too close. But sometimes, that invasion of personal space, it can be exactly what you need."

-the one and only, Meredith Grey (from Grey's Anatomy, for those of you who live on another planet)

Two Clichés, Two Very Different Outcomes

2009-08-30T11:45:00.001-06:00

The Hangover and G.I. Joe: Rise of the Cobra represent two of cinema's tried-and-true clichés. The Hangover follows four guys after their wild night in Vegas; whereas, G.I. Joe is the stereotypical summer blockbuster where a bunch of beautiful people blowup the world's most recognizable landmarks in an attempt to save the world.

The difference between the premises is that The Hangover embraces its common concept and makes it original while G.I. Joe flies on autopilot. The Hangover begins as four friends wake up in their trashed Vegas villa the morning after the century's wildest bachelor party: the groom is missing, there's a tiger in the bathroom, and a baby in the closet. The cast is hilarious, particularly Ed Helms as Stu, a tightly-would, girlfriend-whipped guy waiting to break out of his shell, and Zach Galifianakis as Alan, the groom's oddball brother-in-law-to-be. The beauty of The Hangover is that it's not about four Hollywood playboys behaving badly, but a quartet of joe shomes trying to have a good time.

G.I. Joe is not nearly as fun. The film is what you'd expect -- a group of "black ops" soldiers chasing the bad guys before they destroy the world. Instead of making an action film grounded in reality and depth (see: The Dark Knight, Iron Man), director Stephen Summers presents a film full of unnecessary flashbacks and unfunny one-liners. The performances are scattered at best. Some cast members are over-the-top and campy (Sienna Miller, Joesph Gordon-Levitt), others are there for the paycheck and to show of their toned physiques (Channing Tatum, Rachel Nichols), while a select few are downright awful (Dennis Quaid, Christopher Eccleston).

Given the choice between these two flicks, I'd rather be waking up in Vegas.

The Hangover, Grade: A-
G.I. Joe: Rise of the Cobra, Grade: C

Utah Sundays

2009-08-30T11:31:00.001-06:00

Since the Mormons run this town, and there's nothing better to do on Sundays, I've been watching YouTube videos all morning. In doing so, I came across my all-time favorite American Idol performances:

Jennifer Hudson, "Circle of Life:"

Kimberley Locke & Frenchie Davis, "Band of Gold:"

Carrie Underwood, "Alone:"

Kelly Clarkson, "Stuff Like That There:"

The Life of a Couch Potato

2009-08-26T19:06:00.001-06:00

It's no secret that I love television. After all, network television upfronts are some of my favorite days of the year. As the new fall television season approaches, I cannot help but get excited for my "secondary escape." The schedule below is a result of said excitement.

Disclaimer #1: I am not a 300-pound man who lives on a diet of soda and potato chips (and I even exercise!).
Disclaimer #2: I will view few of these shows in real-time, but I like the schedule concept nonetheless.

Monday
7 p.m.: Heroes (NBC)
The show doesn't deserve another chance, but I'll give it one or two episodes. I never divorce shows that I'm with from the beginning, but Heroes is mighty close to being dropped.

8 p.m.: Gossip Girl (CW)
I'm ashamed to say I watch this. I have the music taste of a teenage girl, so why can't my television interests follow suit?

9 pm: Nothing(!)
Maybe I'll actually do something productive.... yeah, right.

Tuesday
7 p.m. - 8 p.m.: So You Think You Can Dance (FOX)
My favorite summer show makes the move to prime time, and I definitely won't have a problem being just as obsessed.

9 p.m.: The Good Wife (CBS)
Politics plus pop culture? I am so there.

Wednesday
7 p.m.: So You Think You Can Dance (results show) (FOX)
More filler, but the group dances are some of my favorites.

8 p.m.: Glee (FOX)
Last fall's pilot was the most fun and original hour of television in quite sometime. Crossing my fingers that the rest of the episodes keep pace.

9 p.m.: Modern Family (ABC) (recorded from 8 p.m.)
A fall comedy with huge potential. Plus, I've always had a thing for Julie Bowen.

Thursday
7 p.m.: Survivor (CBS)
The granddaddy of all reality television, and I still cannot get enough.

8 p.m.: Grey's Anatomy (ABC)
The final three episodes of last season were classic Grey's. Hopefully Ellen Pompeo's pregnancy doesn't screw up the momentum.

9 p.m.: Flash Forward (ABC) (recorded from 7 p.m.)
The sci-fi show that bumped Ugly Betty to Friday. I'll test it out for a few episodes.

Friday
7 p.m.: Nothing (again!)
Actually, I'd like to try out both Parks & Recreation and Community... maybe they both can go here.

8 p.m: Southland (NBC)
Without question, last year's most underrated show. I'm praying that there are enough fans to keep it alive.

9 p.m.: Ugly Betty (ABC) (recorded from 9 p.m.)
Friday is the night where shows go to die. Is Betty really on life support?

Saturday
I need a life. No Saturday television for me.

Sunday
7 p.m: The Amazing Race (CBS)
One day I'll be a contestant. One day...

8 p.m.: Desperate Housewives (ABC)
Has definitely fallen from it's first season glory, but it's still good for a few laughs.

9 p.m: Brothers & Sisters (ABC)
My favorite drama hit a few bumps last season, but I am confident season four will bring the show back to form. (My advice: more Nora, less Ryan.)

Even with all that, I still haven't found time to get into critically-acclaimed shows like 30 Rock, The Office, and How I Met Your Mother. Plus LOST, American Idol, and Parenthood all hit the airwaves mid-season. Where there's a will, there's a way, right?

Happy watching...

A Typical Love Story

2009-08-23T11:58:00.001-06:00

It's often more difficult to watch a mediocre film with potential than one that is downright awful. The Time Traveler's Wife is one of those movies. With source material from a best-selling novel, two talented and gorgeous leads (Eric Bana and Rachel McAdams), and an Oscar-winning screenwriter (Bruce Joel Rubin, Ghost), The Time Traveler's Wife has all of the ingredients for success, but it falls flat.

Henry DeTamble (Bana) has a genetic disorder. Without warning, he disappears and travels throughout time. (Whenever Henry does travel, he cannot take his clothes with him, so the film could be titled, How Often Can Eric Bana Get Naked?). Henry often travels to the same places, often where he can interact with loved ones. One of those people is Claire Abshire (Rachel McAdams), his (future) wife. He first meets Claire when she is six (he's forty-something) in a field behind her parents' home, and she falls in love with him immediately. Years later, when they finally meet in real-time, their love story begins.

It's quite bizarre and confusing watching an older man befriend a young girl whom he will one day marry. All creepiness aside, The Time Traveler's Wife succeeds when it's a story about love not about science fiction. There's not a problem with the story, the time traveling makes the film interesting -- it's the way that director Robert Schwentke handles it. The film spends too much time on Henry's naked time travels and not enough establishing the smoldering love between himself and Claire.

Bana and McAdams are formidable leads with chemistry. McAdams is particularly strong. She has yet to misstep in her career, and the performance here is another for her resume. Bana is equally reliable, and it's quite a feat that a muscular Australian can play vulnerability so well, but he is also part of the film's problem. As Henry travels, he is seen at varying ages, but Bana looks exactly the same in every scene.

The second half of the film, which is less dependent on the time traveling, is far better than the first, but it's not enough to elevate this mediocre love story.

Grade: B

An Adrenaline Rush

2009-08-23T11:12:00.001-06:00

American audiences don't like films about war. Just see the box office returns for Lions for Lambs, Rendition, and Stop Loss. However, if there's one Iraq film that audiences should see -- it's The Hurt Locker.

It's Baghdad circa 2004 and Bravo Company, which specializes in Explosive Ordnance Disposal (EOD), has a new squad leader, Staff Sargent William James (Jeremy Renner). James is reckless and committed; he's the most intense character to grace the silver screen in recent memory. He often breaks protocol and goes rogue, and as the film follows his 38-day stint with Bravo Company, there are few mild-mannered moments.

Director Kathryn Bigelow captures the brutality of Iraq brilliantly. The tension during the EOD scenes is especially heart-wrenching. Bigelow also draws superb performances from her cast, particularly from Renner. His commitment to the character is essential because without it the audience wouldn't understand James' addiction to war.

Screenwriter Mark Boal co-wrote 2007's Iraq-themed and underrated In the Valley of Elah, and his Hurt Locker script is even better. The film has an underlying message, but unlike most wartime films, Locker doesn't beat you with lessons on morality. The Hurt Locker is gritty and real, and examines the psyche of the American solider better than any film out there.

Grade: A

Intelligent Design

2009-08-16T15:32:00.001-06:00

Science fiction gets a bad rap. Films about aliens are usually dismissed as heavy on the action and light on just about everything else. District 9 (much like recent offerings including the Battlestar Galactica televesion series and J.J. Abrams' Star Trek reboot) breaks the "science fiction mold" and is entertainment that is fun, accesible, and (most importantly) smart.

Director Neil Blomkamp sets the film up documentary style, much like last year's disappointing Cloverfield. With Johannesburg, South Africa as the backdrop, Blomkamp tells the story of how aliens came to Earth. Twenty eight years ago, a giant spaceship parked itself above South Africa. Three months later, humans broke into the idle ship and discovered an entire alien race.

Today, the aliens, not-so-affecitionaly called "Prawns," live in District 9, a fenced off slum in the middle of Johannesburg. Humans are none to happy with the millions of Prawns taking over their city, and as a result the government enlists the Multi-National Corporation to evict the species and relocate them to the "less posh" slum - District 10. The film follows a 74-hour period during the eviction.

District 9 has obvious references to racism and apartheid, but nothing that is overly heavy handed (Blood Diamond, anyone?). The film's action is gritty and fast -- there are more than a few times when guts (both Prawn and human) cover the camera lense. The action isn't simply gratuitous either, it all speaks to the film's greater message of mankind's inhumanity (though I won't lie -- the Prawn weapons are pretty awesome).

It's rare that a film can be both allegorical and entertaining, but that's exactly what District 9 is. If anything, Blomkamp's film is slightly long and a few of the action sequences feel awfully convenient, but District 9 proves that, yes, there is intelligent life out there.

Grade: A-

Mastering the Art of Quality Acting

2009-08-16T12:16:00.001-06:00

Four years ago, had you told anyone that come 2009 Meryl Streep would be one of Hollywood's most consistent box office stars they would have laughed in your face. While she was considered the world's best living actress, she never delivered huge box office numbers. However, at age 60, Streep has completely changed the model of success. With 2006's superb performance in The Devil Wears Prada and last year's light-hearted romp, Mamma Mia! Streep has claimed her place at the forefront of pop culture and Julie & Julia will, no doubt, keep her there.

Julie & Julia is a two-part story that follows culinary-queen Julia Child (Meryl Streep) as she breaks into the world of food, and Julie Powell (Amy Adams) a post-9/11 cubical worker as she blogs about her 365-day-adventure of cooking her way through Julia Child's Mastering the Art of French Cooking.

The Julia portion of Julie & Julia is a delight. When Child arrives in France in 1949 with her husband Paul (Stanley Tucci) she needs a hobby. There is little that can satisfy her until she enrolls in the Cordon Bleu cooking school. It's an absolute joy watching her commit to her newfound love of wanting the world to enjoy great food. This is where Streep is an absolute marvel (not surprisingly). Her Julia is an absolute joy, waltzing across the screen with unfettered passion. It's doubtful that anyone will be able to watch this performance without a "perma-grin."

The Julie half of the film isn't nearly as fantastic, but it's close. Adams may be the most likeable actress in Hollywood, and it's impossible not to fall in love with her. However, as she cooks and blogs her way through Child's masterpiece Julie claims to be a "bitch" and hints at vulgarity, but those qualities just aren't apparent throughout the course of the film. Director/screenwriter/producer Nora Ephron's script wants Julie to be a typical New Yorker with the charm of a southern belle, but it just doesn't work.

However, buoyed by Hollywood's new gruesome twosome (last seen together in Doubt), Julie & Julia is the rare August flick that will leave a good taste in your mouth.

Bon Appetit!

Grade: A-

(95) Minutes of Bliss

2009-08-16T11:43:00.002-06:00

(500) Days of Summer is not a love story. The film makes that clear within the first 60 seconds. In fact, the film isn't even that "happy." However, it may be the best "romantic comedy" to come out of Hollywood in years. Go figure.

Summer takes the romantic comedy clichés and turns them inside out. The film tells the story of Summer (Zooey Deschanel) and Tom's (Joseph Gordon-Levitt) 500-day relationship out of order. For example, the story jumps from day 17 to day 254 and then back to day 97. The method makes each day, no matter how seemingly insignificant, integral to the story of infatuation, love, and rejection.

The film is a perfect telling of today's 20-something's version of love. Backed with an ideal soundtrack, highlighted by two ditties from Regina Spektor, (500) Days captures the essence of unrequited love. However, the film would have never succeeded without such strong lead performances. Deschanel, with her doe-eyed sweetness gives Summer an inherent sense of innocence while still being an independent, modern woman. Gordon-Levitt proves an equal sparring partner with Hollywood's new go-to emo girl. In fact, he's sensational. Every crease in face, every glimmer in his eye, every lip quiver speaks to his unwavering love for Summer. While he may not be 6'2" with bluging biceps, with a performance like this, Hollywood will have a hard time not casting him as a leading man.

Even though it's not a story of fairy tale love, (500) Days of Summer is a blissful experience that will hopefully show Hollywood that it is possible to make an intelligent, original romantic comedy.

Grade: A

Harry Potter: Better with Age

2009-08-16T11:02:00.001-06:00

Harry Potter and the Half-Blood Prince was arguably the most anticipated movie of the summer. However, unlike most summer fare, this cinematic adventure delivers.

The film's opening sequence, as death eaters terrorize the muggle (human) world, sets the tone for the nearly three-hour adventure, and is CGI magic at its best (and it's even better in IMAX). Prince is just as dark and ominous as its predecessor, Harry Potter and the Order of the Phoenix. As evil transcends around him, our "boy wonder," Harry Potter (Daniel Radcliffe) prepares to return to Hogwarts for his fifth year at the magical school. However, before he can return, clairvoyant headmaster Albus Dumbledore (Michael Gambon) sends Harry on a mission to bring Potions professor Horace Slughorn (Jim Broadbent) back to Hogwarts in order to learn more about one of Slughorn's former students, Tom Riddle (aka Lord Voldemort).

Plots details aside, Harry Potter and the Order of the Phoenix is the best Potter movie since Harry Potter and the Prisoner of Azkaban. Much of the credit goes to screenwriter Steve Kloves for condenscing yet maintaining the spirit of one of J.K. Rowling's beloved works. Director David Yates also proves the the Potter franchise is safe is his very capable hands. He draws solid performances from the film's young stars (Radcliffe, Emma Watson, and Rupert Grint), but its the old chaps that steal the show. Gambon continues to play Dumbledore with fierce conviction, and no one appears to be having more fun on screen than Broadbent.

After a few subpar cinematic outings (Harry Potter and the Goblet of Fire and Harry Potter and the Order of the Phoenix) the Half-Blood Prince seems to have righted the ship in preparation for 2010's two-parter Harry Potter and the Deathly Hallows.

Grade: B+

Kelly Clarkson Needs Some PR Help

2009-07-27T18:06:00.000-06:00

The Internet was all abuzz this weekend of the latest spat between Kelly Clarkson and her record label (RCA) over her new single "Already Gone." In this article with the CBC, Clarkson says that she wrote "Already Gone" with One Republic frontman Ryan Tedder last year and then he subsequently gave the same backing track to Beyonce for her song "Halo." In her own words:

"Ryan and I met each other at the record label, before he was working with anyone else... We wrote about six songs together, four or five of them made the album. It was all fine and dandy. I’d never heard of a song called "Halo." Her album came out when my album was already being printed. No-one’s gonna be sittin’ at home, thinking ‘Man, Ryan Tedder gave Beyonce and Kelly the same track to write to.’ No, they’re just gonna be saying I ripped someone off. I called Ryan and said, ‘I don’t understand. Why would you do that?"

Kelly goes on to say that she "fought and fought" the record company not to release "Already Gone," but, "“In the end, they’re releasing it without my consent. It sucks, but it’s one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it. It’s kind of a shitty situation, but.… You know, you learn.”

As a fan, I appreciate Clarkson's candor, and hopefully this means that Ryan Tedder and his same-same ballads go away from the airwaves for a while. However, this spat should have never been made public, and someone in Clarkson's camp needs to tell her that. While any publicity is usually good publicity, it's a lot better when it's positive. "Already Gone" is a great song, with a haunting chorus, and the quality of the music should be allowed to speak for itself. Plus, the Top 40 audience likely wouldn't even be able to tell the difference between the two diva's ballads. Instead Clarkson is stuck with another public battle with her record label and no one wins.

Kelly, is you're listening, please hire new PR council stat. Keep your interaction with the media positive and happy, and fight the corporate big wigs behind closed doors. I'm sure more than a few of your fans would be willing to help out, and some might even be qualified (pick me, pick me!)

The Kelly/Beyonce mash up:

The "Already Gone" video (which apparently RCA nixed the concept for as well):

Hatch's Folly

2009-07-26T14:33:00.000-06:00

I am sure Senator Orrin Hatch's (R-UT) recent admission that he will vote against President's Obama's nominee for the Supreme Court, Sonia Sotomayor, comes as no surprise to anyone. More than a few people are probably thinking, "Oh, he's just the crazy conservative from Utah." Unfortunately, that is probably true.

Hatch's statement on why he will be voting against the first Hispanic nominee to the court is a bunch of empty words. Hatch has voted for every Supreme Court nominee in his more than 30 years of service. Over the course of three decades, this is the one nominee that he can't vote for? Really Senator Hatch? I don't buy it. Plus, when he says that he will not be voting for her, the only really reason he gives is that her "judicial philosophy" doesn't jive with his. However, there are no examples, no specific answers that she gave in hearings that set him off, nothing. As a constituent, I want more from my Senator.

I may be wrong, but I highly doubt that Senator Hatch's lack of support for Sotomayor has anything to do with her qualifications. His statement came days after he dropped out of bipartisan health talks. Health care is one of the greatest problems facing our nation, and because Hatch wasn't getting his way, he dropped out. Awesome. Hatch's recent behavior is an obvious signal the he's catering to the right wing of the Republican Party, more specifically the right wing of the Utah Republican Party.

Hatch's counterpart, Robert Bennett (R-UT) is currently facing a stiff interparty race from serveral challengers for his 2010 re-election bid because he is too moderate. In 2008, congressman Chris Cannon was booted by Utah Republicans for not being conservative enough (this was the guy that accused William Ayers of ghost writing Barack Obama's autobiography. He wasn't crazy conservative enough?). Are we seeing a theme here?

Hatch's recent (and extremely disappointing) behavior is simply a signal to Utah's hardcore Repbulicans that he's still a strong right winger. He's saying, "Hey, don't boot me! Even though I've been here for far too long, and don't care about representing the real interests of my constituents, re-elect me!" However, I think Hatch's constituents will have the last laugh. Maybe I'm naive, but Democrats and (moderate Republicans) are making a comeback in Utah. Gov. Jon Huntsman, the "maverick" Republican who supported civil unions for gay couples and actually believes in global warming, was wildly popular with Utahns (until President Obama exiled him to China). Democrats now rule Salt Lake County and Democrat Jim Matheson is the state's most liked congressman.

So while Hatch may think that proving his conservative credentials will keep him in office for a few more decades, I'm calling his bluff. Come 2012, Orrin better watch out because the Democrats are coming (and probably a fair share of Republicans too).

You Are What You Eat

2009-07-26T13:29:00.001-06:00

Children are growing up in the era of the supermarket, where they believe that milk comes from a jug and lettuce originates in the produce section of Wal-Mart. Americans just don't know where their food comes from. In Food Inc., director Robert Kenner takes a critical look at how corporate America has changed the farm.

With the help of of "food experts" Eric Scholosser (Fast Food Nation) and Michael Pollan (The Omnivores Dillemma) Kenner creates a documentary that is clear, concise, and important. The film is split into chapters, each highlighting the corporate corruption of agriculture. As Kenner tells it, the industry's transformation began the late 40's when farms began catering to fast food by operating like factories instead of the historical American farm.

As Kenner's film progresses, each vingette shows a different side of America's food. First, it's a trip to poultry facilities where farmers raise chickens in complete darkness and pump them so full of chemicals that their bones and organs can't keep up with their body's growth (Kenner can't even show the worst facilities, because corporate America won't allow it). Then the story of Barbara Kowalcyk, a mother-turned-activist whose son died of E. coli, proves how ridiculously slow the American political process can be. Lastly, Kenner shows how "veggie libel" laws are destroying the typical farmers because large corporations like Monsanto are suing them with lawsuits that only Oprah can afford to defeat.

Those stories only scratch the surface of the the film's heartwrenching facts, and it's quite ironic that the only corporation that Kenner praises is "media devil" Wal-Mart. However, very little in Food Inc. will be new for anyone who has read Scholosser or Pollan's books. Nonetheless, the documentary, like any good documentary, will leave you questioning business, government, and (most importantly) your own behavior.

Grade: A-

The Radio Star

2009-07-23T22:02:00.001-06:00

Jordin Sparks isn't the most talented winner to be crowned the American Idol. Her voice doesn't have originality of Fantasia, the range of Carrie Underwood, or the musical stylings of Kris Allen. However, Sparks does have the uncanny abilty to churn out radio hit after radio hit. Her self-titled debut album succeeded solely on the basis of "Tattoo," the Grammy nominated "No Air," and "One Step at a Time." Now, two years after winning America's most popular talent competition, Sparks is back with a new album, Battlefield - and it's better than her first.

Battlefield goes for broke on and strives for pop perfection. Sparks influences are obvious: "Walking in Snow's" guitar riffs are reminiscent of the best tracks off Kelly Clarkson's Breakway, "The Cure" could've been a Leona Lewis ballad, "Don't Let It Go To Your Head" is a (heartbreaking) Fefe Dobson cover, and "S.O.S" samples Shannon's 1983 hit "Let the Music Play." However, the similarities are irrelevant because the material sounds undeniably current.

While a few tracks are over produced and the album's last half is overly sappy, Battlefield is loaded with radio hits. The title track's repetitive chorus is already playing on stations across the country and there are no less than nine songs that could be airwave successes.

At only 19, Sparks has a huge leg up on her fellow teen and twenty-something pop star competition -- she's proven the ability to make contemporary album that doesn't feel like a Disney soundtrack. Ms. Cyrus, consider this your warning.

Grade: B+

Up, Up and Away

2009-07-21T21:19:00.001-06:00

In an attempt to catch up, here are a few quick simple reviews (I am lucky that I've been a movie slacker lately):

I Love You, Man: Can Paul Rudd please be a movie star now? I Love You, Man was the funniest movie of the spring. It will definitely keep you "slappin' 'da bass mon." Grade: B+

Star Trek: J.J. Abrams is this film. From the music to the cast, Star Trek reeks of the Lost creator, which is exactly what this tired franchise needed. Abrams' film is definitely the most accessible and enjoyable of any Star Trek film. We all knew Zachary Quinto was bound to be great as Spock anyway. Grade: A-

Wolverine: Been there done that. The X-Men films were on life support when X-3 hit the credits, and Wolverine was dead on arrival. The studio even skimped on the budget and Hugh Jackman's claws look as if they were created with '99 CGI. Bonus points for including Gambit in the storyline, however. Grade: B-

The Proposal: Sandra Bullock officially made 2009 the year of the cougar. As Margaret Tate, Bullock transforms from the goofy, girl next door into a prickly ice queen and gives her most charming performance since Miss Congeniality. The Proposal may be a predictable rom-com, but Bullock's chemistry with co-star Ryan Reynolds makes this a welcome surprise. And honestly, at the end of the day, you can never lose with Betty White as comic relief. Grade: B+

Transformers: Revenge of the Fallen: In a recent interview on CBS' Early Show Megan Fox called Transformers a "movie for geniuses." It must be, because this movie made no logical sense. However, when it comes to blowing things up -- it doesn't get much better than this. Grade: C-

Up: It's no secret that Pixar knows how to make great films, but Up may be the studio's best. It's action, adventure, comedy, drama, and even a little romance, and the film does every genre complete justice. The visuals are impeccable, the story is rock solid, the music is moving, and voice actors are spot on. It's nearly impossible to find a flaw with this flick, but pinpointing its strength is simple. Up has more heart than any animated film this year -- maybe ever. It'll tug at your heart strings, give you a belly ache, but most importantly, it'll make you leave the theater with a smile. Grade: A+

You are My Sunshine

2009-03-29T20:19:00.002-06:00

Many critics will probably proclaim Sunshine Cleaning "this season's Little Miss Sunshine." Yes, the similarities abound: a cranky grandfather played by Alan Arkin? Check. An adorable child that's wiser than their years? Check. A broken down van that helps bring a down-on-their-luck family together? Check. While there is a lot in common with 2006's Oscar darling, Sunshine Cleaning is a heartwarming dramedy that stands on its own.

The film follows Rose Lorkowski (Amy Adams), a struggling single mother, who's life is a mess. She's having an affair with a married cop (Steve Zahn), she's pretending to take real estate classes, and she can barely make ends meet working as a maid. However, she catches a break when she starts her own crime-scene cleanup company. In her quest to become the queen of biohazard disposal she enlists the help of her younger, angry-at-the-world sister Nora (Emily Blunt). The two cheerfully (and hilariously) begin cleaning up after Albuquerque's recently departed while Rose's illegitimate son, Oscar (Jason Spevack) -- there's an amusing subplot involving the b-word-- and father (Alan Arkin) spend quality time together since Oscar "is too smart" for public school.

Sunshine Cleaning is not a perfect film. A subplot involving 24's Mary Lynn Rajskub as the daughter of one of Rose and Nora's "clients" feels forced and unnecessary. Arkin's character also seems underutilized -- he's mainly there for quick one-liners that act as a diversion. However, Adams shines as the films heroine while Blunt does her best to steal the show.

While Little Miss Sunshine was hailed as a terrific ensemble, Sunshine Cleaning is the Amy Adams show. Since her Oscar-nominated debut in Junebug, Adams has done an excellent job of choosing roles that showcase different sides of the trademark innocence. In fact, Sunshine Cleaning may be her best performance on screen. She infuses Rose with vulnerability and warmth, which make her impossible to root against. Blunt also continues to impress as Nora, but it's impossible to overlook Adams each time she's on screen.

Sunshine Cleaning may not be groundbreaking or original, but two fantastic performances by two of Hollywood's fastest rising stars, make it memorable.

Grade: B+

I am Julia, Hear Me Roar

2009-03-28T16:11:00.002-06:00

Duplicity, writer-director Tony Gilroy's followup to 2007's Michael Clayton, is a generic yet romantic spy movie. Basically, it's Ocean's 11 -- except with slightly less testosterone and a lot more Julia Roberts.

The film follows Claire (Julia Roberts), a former CIA agent, and Ray (Clive Owen), a retired MI6 operative, as they attempt to swindle two large U.S. corporations out of millions of dollars. As the film begins, Claire and Ray have an awkward run-in in Dubai, which sets the stage for much of the film's conflict. For the next 125 minutes, Claire and Ray can't seem to trust one another. Through a series of flashbacks they kiss, undress, fight, and repeat -- all while planning to outsmart two competing organizations.

While the lover's quarrels are slightly repetitive, the film does have a secret weapon -- Julia Roberts. Hollywood has desperately been searching for a replacement for Roberts for years (see: Jennifer Garner, Rachel McAdams, Katherine Heigl, etc.). While each of those actresses are fine ingenues, none can fill Roberts' enormous shoes. At 41, Roberts continues to light up the screen with her gaping smile and her quiet self-confidence. Her work is effortless, and she even tones down her custom "cuteness" (you only hear her trademark guffaw once) -- much to the benefit of the film.

As great as Roberts is, Owen does his best to keep up. He doesn't have Roberts' star quality, but the pair's chemistry is undeniable. They screamed at each other with raw emotion in 2004's Closer, but their fights in Duplicity steam with sexiness. In fact, their sex appeal is what keeps the film afloat.

Duplicity is too long and Gilroy's script is often unfocused. The back-and-forth between the two corporations can get tiresome, and the confrontations between Claire and Ray don't show much depth. However, without Roberts, the film would probably be entirely forgettable. And because of that, go see Duplicity, because after a five-year break from leading roles, it's just nice to have Julia back.

Grade: B

All She Ever Wanted

2009-03-09T22:19:00.002-06:00

Kelly Clarkson's new album, All I Ever Wanted, should probably be titled The Great Compromise. After 2004's multi-platinum, Grammy-winning album Breakaway, Clarkson fell flat on her face in 2007 with a highly-publicized spat with RCA head honcho Clive Davis and a much maligned (and extremely underrated) album, My December. Fast forward to 2009, and the original American Idol is back, now (supposedly) getting along with Davis and ready to reclaim her title as the reigning Queen of Pop.

All I Ever Wanted is an obvious truce between Davis and Clarkson, and it's a win-win for everyone. It's almost obvious which tracks Clarkson picked for the album and which were Davis' favorites. Several songs are heavily-influenced by 2008 Top 40 artists like Colbie Caillat ("I Want You"), Katy Perry ("Long Shot"), and Sara Bareilles ("Ready"), but in every instance Clarkson proves that her vocal ability is something those artists can only dream of. Despite the record label's heavy-handed touch, Wanted's most radio-friendly anthems ("My Life Would Suck Without You" and "I Do Not Hook Up") are undoubtedly Clarkson. Even with all of the bubble gum pop, Clarkson still manages to showcase her introspective side on self-penned ballads like "Impossible" and "Already Gone."

Ultimately, if All I Ever Wanted proves one thing, it's that all Clarkson ever wanted was to be a singing superstar, and the album leaves no doubt that, yeah, our life would probably suck without her.

Grade: A-

If I Were an Academy...

2009-02-20T22:51:00.001-07:00

As I attempt a new foray into the blogosphere, I couldn't think of a better first post than my annual "If I Were an Academy." Overall 2008 was a weak year for film, but with the Oscars this Sunday here are my thoughts on who will win, who should win, and who should've been nominated in all of the major categories.

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

Who should & will win: An incredible film about fate, hope, and love -- Slumdog Millionaire should take home the trophy. It has won every precursor award imaginable, so it'd be a HUGE upset (bigger than Crash v. Brokeback Mountain) if any other film wins.

Who should have been nominated: (tie) Revolutionary Road and The Dark Knight. Road's brilliance, much like Closer's a few years ago, was completely underestimated because it was too "depressing." Knight, on the other hand, is the best comic book film ever made -- it should have been recognized.

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

Who should & will win: Danny Boyle, Slumdog Millionaire. He made the best film of the year, it's as simple as that. Plus, Slumdog has too much momentum for anyone to surpass Boyle.

Who should have been nominated: Christopher Nolan, The Dark Knight. He made a film that will be talked about for decades. His snub is almost unforgivable.

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

Who should win: Sean Penn, Milk. He's often called one of our generation's greatest living actors. However he often plays dark and brooding, but his characterization of Harvey Milk is joyful, inspiring, and commanding.

Who will win: Mickey Rourke, The Wrestler. There's always a surprise at the Oscars and I think it will be here. Comeback stories are hard to top and Rourke's is remarkable. His performance is physical, gritty, and truly moving.

Who should have been nominated: Leonardo DiCaprio, Revolutionary Road. He gave his most emotive performance ever. Why he can be nominated for Blood Diamond and not for Revolutionary Road is beyond me.

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

Who should win: Kate Winslet, Revolutionary Road. Oh wait, she's nominated for the wrong film. As a result, the greatest living actress of our time, Meryl Streep should take home her third statue for Doubt.

Who will win: Kate Winslet, The Reader. Her work is great here -- it's just not as superb as what she accomplished in Revolutionary Road.

Who should have been nominated: Of course Kate should have been nominated for Road. But the other "Great Cate," this time Blanchett, should have been nominated for her underrated work in The Curious Case of Benjamin Button.

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

Who should & will win: Heath Ledger, The Dark Knight. This isn't even a competition.

Who should have been nominated: Dev Patel, Slumdog Millionaire. It was the best film of the year. Why not throw it an acting nomination?

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

Who should & will win: Penelope Cruz, Vicky Cristina Barcelona. She steals every scene she's in and gives the rest of the cast a lesson in acting.

Who should have been nominated: Rosemarie Dewitt, Rachel Getting Married. In a role far more complex than Anne Hathaway's, Dewitt grounds the film.

Best Original Screenplay
Nominees
Frozen River, written by Courtney Hunt
Happy-Go-Lucky, written by Mike Leigh
In Bruges, written by Martin McDonagh
Milk, written by Dustin Lance Black
WALL-E, screenplay by Andrew Stanton & Jim Reardon, original story by Andrew Stanton and Pete Docter

Who should & will win: Wall-E. A film as good as Wall-E with as little dialogue must have an awesome screenplay.

Who should have been nominated: Vicky Cristina Barcelona. Woody Allen's best film since Match Point.

Jason's Top 10 of 2008
1. Slumdog Millionaire
2. The Dark Knight
3. Milk
4. The Curious Case of Benjamin Button
5. Revolutionary Road
6. The Wrestler
7. Doubt
8. The Reader
9. Iron Man
10. Wall-E