MJs Sing-Along Blog: Seahawks won the Super Bowl, Woo Hoo!

[Mighty Jack]

and again... if someone like del Toro had been directing, it might have worked.

Heavenly Creatures is the only thing Jackson's directed that I had any interest it.

[mummifiedstalin]

Why does he seem to be missing out on things? I read somewhere else that he had a version of Lovecraft's "At the Mountains of Madness" ready to go, but he thought it was too close to Prometheus. I would have loved his take on Tolkien.

[Mighty Jack]

I don't know, he can't seem to get a directorial project off the ground of late, and he had James Cameron backing him as producer on Mountains. I read that the stuido dropped Mountains so they could funnel more money into Battleship. Don't know how much truth is in that, but it seems that idea/rumor/truth is what put Cameron in a rage when the production was halted.

[Torgo]

I don't think Prometheus had much to do with Mountains being dropped. It was ready for production long before Prometheus was. Del Toro later claimed he doubted it would get made because Prometheus was too similar, but I don't think it was directly involved in pulling the plug on it.

My interpretation of the events is mostly that Universal is getting nervous about what movies they put money into. Mountains might have been a satisfying movie, but it probably wouldn't have made much money, and lately the only movies that have been making Universal money are Fast and the Furious and Despicable Me. I think they're currently trying to tap into some of their previous franchises that made bank and looking to get as much cash from them as possible.

That said, I'm anxiously awaiting Pacific Rim.

[Mighty Jack]

Good to hear, I was out of the loop on what he was doing next. del Toro and giant robots. Hmm, sounds like it could be cool.

And with a $200 m budget. Is this his biggest budgeted film? He's pretty good at taking a small budget and making it look beautiful. I'm curious to see what he does with 200 to play with.

[Torgo]

Pacific Rim is the talk of the town on the Godzilla forums I visit, so I've known about it for quite a while. I can't wait to see footage from it, because I'm anxious to see what the film will look and feel like.

The same production company is also at work on Garreth Edward's new American Godzilla film, which I'm hearing great buzz about after a surprise teaser was shown at Comicon.

[Mighty Jack]

Feel free to continue the LOTR talk, I planned to post this in the morn... and so I am.




2002
Talk to Her (Pedro Almodóvar)
Nominees: The Man Without a Past, The Quiet American, Hero, Heaven, City of God, Chicago, Spider-Man, The Ring, About Schmidt, Dirty Pretty Things

Oscars pick: Chicago
Nominees: Gangs of New York, The Hours, LOTR: Two Towers, The Pianist

I thought Chicago was fine entertainment, and for me it was the best of the Oscar noms. It has great music, great performances and a lively spirit that won me over. I do agree with criticism that the direction had its problems. The MTV style edits undercut the dance sequences (modern directors need to watch old Fred Astaire movies and learn how to film a dancer. In short, you let the dancer do most of the work, not the cameraman and editor)

While I don’t hate it, the love the Pianist receives eludes me, because nothing happens in it. I didn't get a great feeling of drama nor was I interested in this guy. He mostly just hides from the Nazis and that's it. I've seen this subject covered extensively and with so much more life and intensity. It's from Roman Polanski so the direction and camera work is assured - it looks good, is expertly framed and staged – never the less I was under whelmed by the story, and found the telling rather dispassionate.

So I agree with Oscar (at least within the scope of their nominees) Chicago was the best picture, Polanski was the best director.

As for the rest of Oscars brood? I wasn’t hot for the highly touted The Hours, LOTR: Two Towers or Scorsese's broad and cartoonish Gangs of New York.

I prefer others, such as City of God – Which is a gripping look at a crime riddled slum in Rio de Janeiro through the eyes of an aspiring young photographer. The piece bristles with the uneasy prospect of violence waiting in every frame. The characters are plentiful and brought to life vividly.

Zhang Yimou's beautiful looking Hero, which is distinguished by its bittersweet romance and acts of heroism in which vengeance is swayed through words and self-sacrifice, rather than by the sword.

And Heaven - A quietly intense and hypnotic story by the late Krzysztof Kieslowski. Cate Blanchett plays Philippa - left hopeless by all that life has dealt her, and scarred by the tragic and violent course she chose to take. Giovanni Ribisi is the sympathetic and all too sensitive police officer, Filippo, who helps her escape from the law. There's fragility in both Philippa and Filippo – they are like twins and like opposites, and that conflicting juxtaposition is a facinating poetry in itself. At this point in their lives they fit nowhere, other than with each other and that is illustrated beautifully at the end - two bald headed elementals, they've left this world and find redemption in each other's love and acceptance.


_{Tom Tykwer (Run, Lola, Run) directs Kieslowsk's first of a planed trilogy. Heaven, which would have been followed by Hell and Purgatory}

Beyond those (and the nominated Spider-Man, The Ring, About Schmidt and Dirty Pretty Things), there were three that I couldn't get out of my head:

The Man Without a Past is an odd, funnily deadpan and sweet Finnish film from director Aki Kaurismaki. It's about man who loses his memory after he is robbed and beaten. He later befriends some poor folks and falls for a gal who works for the Salvation Army. MWAP is one of the quirkiest romantic comedies I've ever seen. For one, hardly anyone smiles in it -it’s like a cast full of Buster Keaton's- and that makes the dialog all the more hilarious. The bits where the protagonist introduces the Salvation Army Band to rock and roll (and gets them gigs to play for the poor and homeless) is a charming hoot, and is one of several memorable sequences. It's an eccentric flick, minimalist in style, but full of wise observations about the nature of man. It might not be to everyone's taste, but it is consummate filmmaking.

The Quiet American - Director Philip Noyce's brilliant adaptation of Graham Greene's complex novel, is a love triangle set to the tumultuous backdrop of 50s Vietnam. Michael Caine earned a well-deserved Oscar nomination playing the jaded British reporter, Thomas Fowler. His performance is abounding with nuance and the vivid dialog he speaks captures Greene at his finest. Brendan Fraser is solid as the idealist Alden Pyle. Pyle is a more fully rounded character here than he was in the novel (where he was simply a paper caricature representing America's arrogance). The piece is poignant without stumbling into sappy melodrama, intense without sacrificing its heart. Beautifully photographed and framed - The political mystery, murder and romance is woven together in a seamless, spellbinding way, and it carries a genuine emotional impact

Talk To Her - As with most films by Pedro Almodóvar, "Talk" is a frank, funny and at times, uncomfortable look at relationships. In it, two men who pine for women in comas, meet in a hospital – they become friends and share stories of their beloveds, though for each, that love is unrequited. As expected Almodóvar presents some disturbing angles, but he also draws up fascinating personalities and a thought-provoking story.

While many feel All About My Mother is Pedro's greatest, I find that one a bit overcooked. I believe the much tighter, concise and (yes) more restrained Talk to Her, shows the director at his peak. It puts on display everything that defines Almodóvar: The absurdity, the dark perversions, the colorful set design, the soapy romantic entanglements and the fully formed characters. It's quintessential and essential Almodóvar.

Though it's tough to have multiple equal favorites, I elected to go with Talk as my best picture.

Other movies I enjoyed on the year include: Bloody Sunday, Blade II, The Bourne Identity, Stuart Little 2, Whale Rider, Bend it Like Beckham, Raising Victor Vargas, Oasis, The Good Girl, Auto Focus, Far From Heaven, The Son (Le fils), He Loves Me, He Loves Me Not, 24 Hour Party People and the Russian Ark.

[Mighty Jack]

Good morning, here's the weekend offering. I actually have everything written on the project, it's all done (though I have a few movies in 05 I want to watch again, so I could tweak a few things). All I have to do is post ‘em.




2003
Lost in Translation (Director: Sofia Coppola)
Nominees: Cold Mountain, Oldboy, End of the Century: The Story of the Ramones, Memories of Murder, Mystic River

Oscars pick: Lord of the Rings: Return of the King
Nominees: Lost in Translation, Master and Commander: Far Side of the World, Mystic River, Seabiscuit

Sofia Coppola directed Bill Murray and Scarlett Johansson at their very best, in a movie about those beautiful connections that -while brief- stay with you for a lifetime. Brian Orndorf wrote – ”A relationship picture with elegant connective tissue; it's brittle and real, focused on the nuances of body language and unspoken desire, while indulging in a cheeky bit of knowing absurdity when the mood strikes."

That's one of the most brilliant movie summaries ever been written, what more can I add?

I like how honest it is, how achingly tender the bond that develops between these two people. I like the sense that even thought they are in this crowded city surrounded by people, there's a loneliness that’s only capped when they are together. It doesn't over romanticize it, or overplay the little joys or hurts that come with any relationship. It doesn't overplay or over explain anything. It just allows it to breathe and be observed.

I know some folks hate it, hate the measured pacing and minimalist story (the script was basically 20/30 pages of notes+) - but it's a special film for me - one that moves me every time I see it. I think I relate to that sense of feeling lost, needing to move, to do something -anything- though your not sure of the how's or what's or where's needed to make such a decision. But you make a connection with someone and for a while it's all, okay. Other movies have addressed this idea, but none so effectively as Translation; none linger and leave as deep an impression.

While I admire it for subjective reasons, it is also praiseworthy on the objective -- as in the contributions of editor Sarah Flack and Cinematographer Lance Accord (I love the way this film is framed. There are picture postcard perfect shots throughout). Their skillful involvement helped shape the films look and rhythm. All told – it's not only the best of the year, but also my 'film of the decade'.

Had there been no Lost in Translation then my award would have gone to Cold Mountain.



Mountain tells the story of a confederate soldier (Jude Law) who goes through hell in order to be with his ain true love (Nicole Kidman). In his travels he meets all manner of folk, some are quirky (Philip Seymour Hoffman) and some are out for his blood. Critics who complain that the film is cold are dead wrong, I laughed, was moved by the love story and I felt every sorrow, even in the loss of life met by lesser characters. While the acting is all above board, Renée Zellweger is a standout and her character’s arc a highlight of the film. Cold? Hell no, with this movie I experienced the complete waste and sickness of war, as well as the blessings found in friendship, love and basic human compassion. Oh, and it features great music and score.

And by now it should be no suprise that Oscar winner, LOTR: Return of the King didn't do a whole lot for me. It didn't help that the ending was a big stick - it refused to bow out until it had beaten me senseless with all that forced pathos. LOTR was a nice adventure with great production values; but I don’t feel that translates into "Best Picture of the year".

Other movies I enjoyed include: X-Men United, Hulk, American Splendor, A Mighty Wind, The Missing, Underworld, Finding Nemo, The Station Agent, Elf, Bon Voyage, Owning Mahowny, Big Fish, The Barbarian Invasions, Down to the Bone, Zelary, The Human Stain and the Best of Youth


+Interestingly that screenplay won an Oscar. Another unusual script that led to a Felix winner was Wim Wender’s Wings of Desire. Which was built upon a rough sketch of a premise and a bunch of recorded monologues.

[Mighty Jack]

2004
Eternal Sunshine of the Spotless Mind (Director: Michel Gondry)
Nominees: Million Dollar Baby, Brothers (Brødre), My Summer of Love, Maria Full of Grace, Spiderman 2, The Incredibles, The Life Aquatic With Steve Zissou, The Aviator, Before Sunset, Garden State, Moolaade

Oscars pick: Million Dollar Baby
Nominees: The Aviator, Finding Neverland, Ray, Sideways

Eternal Sunshine of the Spotless Mind is an imaginative tale, as spot-on and devastatingly honest a look at love as has ever been filmed. Jim Carrey has never been better and Kate Winslet is a captivating independent spirit – they play former lovers who have gone through a procedure to erase the memory of their relationship from their minds. Thing is, Carrey is fighting to hold on to these priceless moments.

While I've seen a lot of great movies, there are few that offer as singular, distinctive and elevated a viewing experience as what writer Charlie Kaufman and director Michel Gondry cooked up with Eternal Sunshine. I exited the theater gob smacked. Sunshine is an original, thoughtful examination on the value of memory. It’s touching but also a surreal super freak-out and a tad scary. It doesn't take the cheap and predictable road on its ending. The couple doesn’t vow to change and make it work come hell or high water... they know the landmines waiting for them, but it's, okay.

This one was a real, real close call - as I adore Million Dollar Baby, the Clint Eastwood directed story about a broken down manager and his phenom (Hilary Swank). The boxing and training scenes, the look at this fringe culture was transfixing. But Eastwood, who delves in to life's gray areas better than anyone, and screenwriter Paul Haggis (working from a story by F.X. Toole) makes this more about boxing. It's about missed opportunities, regret, and redemption.

While the material is familiar, it's given a telling that is fresh and takes an unexpected turn at the end... and what a crushing turn it was. There are few movies that leave me as emotionally gutted as Million Dollar Baby. And there has never been a movie, in the history of movies that left me wracked with tears the way this film did. And I'm taking about an inconsolable, stomach heaving crying jag. (And I don't just cry at anything. I don’t like forced deathbed scenes (ala Terms of Endearment or Love Story) where it comes off as a calculated and phony manipulation. Million Dollar Baby is honest in its presentation – it wasn't a feigned or opportunistic play for sympathy)

Baby and Sunshine were movies that took me someplace new, had me experiencing a whole different level of emotional or intellectual high. And on filmmaking technique they excel. Emotional and intellectual resonance was the overall buzzwords this year. Susan Bier's brilliant wartime story Brothers was another that knocked the breath from my lungs (it features one of the saddest, heartbreaking final lines in cinema history) - and Moolaade from Senegalese writer and director Ousmane Sembène (which addresses the subject of female genital mutilation) strikes a similar chord.

Another movie I liked at the time was Sideways – watching it again? Well, it's a cute little road picture, with some solid characterizations. But it's rather conventional compared to my top films of the year. It doesn't transform me, or move me, or challenge me as they do.

In addition I also enjoyed Hellboy, 2046, Harry Potter and the Prisoner of Azkaban, House of Flying Daggers, Sky Captain and the World of Tomorrow, Hotel Rwanda, Kings and Queen, Super Size Me, Mean Girls, Howl’s Moving Castle, Primer, A Very Long Engagement, The Chorus, Duck Season, Ray, Downfall and Nobody Knows

[Mighty Jack]

2005
Batman Begins (Director: Christopher Nolan)
Nominees: Constantine, Kiss Kiss, Bang Bang, Munich, {Proof}, Little Fish, The Gits, L'enfant, Serenity, The Devil and Daniel Johnstone, Brick

Oscars pick: Crash
Nominees: Brokeback Mountain, Capote, Good Night and Good Luck, Munich

I really didn't like 2005 very much. I thought the Academy's top contenders, Crash and the overwrought, poorly paced soap opera Brokeback Mountain, were frankly - flat out terrible. And I found Good Night and Good Luck soft and superficially rendered. Of Oscar's nominees, only Munich impressed me. (Capote was fair)

On the other hand I genuinely admire the work done on the (sometimes) critically drubbed supernatural thriller Constantine. No joke with that, I feel it has a thoughtful, fascinating story (with some great bits of dialog, ala the line, “God is a kid with an ant farm, he has no plan.”) The direction and camera work was clever and the acting sincere.

But was it 05s best picture? I poured over the year in detail. I watched every artsy farsty, indie, foreign, critically praised movie I could lay my hands on - trying to find something elevated to crown king… and came away underwhelmed.

That's not to say the season was bereft of goodies: Among them - 2 musical docs: The Gits - a heartfelt look at the life and murder of Seattle Grunge artist Mia Zapata. And a respectful exploration of a strange mans "15-minutes of fame" in, The Devil and Daniel Johnstone.

There were dramas such as Little Fish, a raw character piece about a former heroin addict (wonderfully played by Cate Blanchett) who is trying to get her bearings and stay straight. Gwyneth Paltrow and director John Madden (Shakespeare in Love) reunite in {Proof}, a film that examines that thin line between madness and genius. And from Belgium, the Darenne Brothers offer the story of an amoral thief who sells his baby to the black market, in L’Enfant.

The pictures that delighted me most were interesting spins on classic noir, crime stories. Like the hilarious Kiss, Kiss, Bang, Bang with its superb casting of Robert Downey Jr. Val Kilmer and Michelle Monaghan - and Brick, which sets its hard boiled tale in a High School.

As with the weedy 1983, in the end I decided to just go with what I like most -- and since this was the decade of the superhero movie I selected the slightly flawed (it has its corny moments) but magnificently grim and gritty Batman Begins

What has set Nolan's comic book inspired capers apart from others in this genre is its intelligent explorations of theme. The story and character motivations are all driven by - and serve the grand idea: About the nature of justice, faith, grace -- about the personality of a broken city and what it will take to restore it. Gotham is every bit a character in this movie as are the people who populate it. And the center of this city stands Bruce Wayne. In Begins we watch a hero being born -- and he is one of the most multifaceted figures ever seen in a superflick. That nuanced personality was forged not only by the psychological trauma sustained in his youth, but also by the people who were/are apart of his life: Be it the compassion of his father, the wisdom in Alfred, the integrity in Gordon -- and at opposite ends of the Justice pole, Rachel Dawes and Ra's al Ghul. While Rachel is sanctimonious to the point of being irritating, she and the rest (along with the tech help from Lucius Fox) are integral in creating the dark night detective.

Batman Begins works because -in addition to the cool gadgets and vehicles and heart stopping action- it takes time to develop story, character and theme. And that makes a mere comic book movie, something a little more than a mere comic book movie.

Note: And why do I like superheroes? It's basically about wish fulfillment: The world can be mean, nasty and unjust, and I'm powerless to do anything against it. Within in the pages of a comic I can escape into a place –fixed in the here and now, in recognizable locations- where someone stands up, takes on corruption and evil and set things right (and does so in a really cool costume lol). I'm generally especially drawn to self-made heroes like Iron Man and Batman. They weren’t mutated or radiated or bestowed with supernatural power. They are just normal humans who use their intellect and will power to go above and beyond.

Other movies I liked include: Price and Prejudice, The Brothers Grimm, Junebug, Sky High, Walk the Line, Angel-A, Sophie Scholl: The Final Days, Hard Candy, Linda, Linda, Linda, A History of Violence, War of the Worlds, Sin City, Grizzly Man, The Corpse Bride, Millions, Mrs. Henderson Presents and the Death of Mr. Lazarescu.

[Torgo]

And MJ's nerdiness finally gets the best of him. He gets props for nominating my favorite film of 2005, though, Kiss Kiss Bang Bang.

That and saying Munich should have won out of the nominees. I felt like I was the only one rooting for it that year, especially with Brokeback taking all the buzz at all times. Then they announced the winner and I sighed and said "Brokeback Mountain," then Jack Nicholson said "Crash!" and I was like "Buh?"

Poor Munich. That entire year was chaos and it got lost in it.

EDIT: I'd also like to say I got to see Batman Begins on the big screen again after 7 years last Thursday in a triple feature with the sequels. While this movie got forgotten after the hype of the Dark Knight, I still adore it. And it's still thrills the hell out of me.

[Mighty Jack]

Yeah I figured after the succession of relationship pictures, the Blog needed some ‘cape and cowl’ action for a change of pace.

I found a Kiss Kiss, Bang Bang BD for $7 and picked it up. I liked it even more than I did the first time I saw it. It was a real strong contender.

I thought {Proof} might take it, but it wasn’t as wonderful on a second viewing (which seems to be a pattern with John Madden movies). Then I turned to Little Fish, Munich and L’enfant… before finally saying, "To hell with it, just go with the Bat, you know you want to."

[Torgo]

Now you need to make sure you let The Dark Knight and The Dark Knight Rises win their respective years, otherwise we'll have Nolan die hards flooding our board and calling you an idiot.

[Mighty Jack]

Uh Oh, I went and opened Pandora's box didn't I?




2006
Pan's Labyrinth (Director: Guillermo del Toro)
Nominees: Notes on a Scandal, The Host, Wristcutters: A Love Story, The Lives of Others, After the Wedding, Paprika, The Departed, The Good German, Letters From Iwo Jima, Babel, The Red Road

Oscars pick: The Departed
Nominees: Babel, Letters From Iwo Jima, Little Miss Sunshine, The Queen

Del Toro's masterpiece is without question the finest film of the year. Critic Simon Foster said it best.. "In juxtaposing the realism of a Fascist state’s adherence to spirit-crushing violence with the soaring fantasies of an innocent’s dream world, director Guillermo del Toro has created one of the most damning indictments of dictatorial politics ever filmed. Yet what ultimately emerges from his extraordinary Pan's Labyrinth is intrinsically humanistic; a celebration of the strength of spirit mankind possesses to overcome such evil.”

I started using that quote after trying to sum up the film in my own words, and finding myself buried under a pile of lengthy, overwritten paragraphs. It's such a contemplative, stimulating piece of film. Thankfully Foster was able to sum it up succinctly for me.

Why do I feel del Toro is our best fantasist today? There's an honest sense of wonderment, and a lack of pretension in his work. He can address important issues without it coming off self-important; his heroes might falter in the face of grave situations, but they do so without turning into whiny emo irritants. He's a master at capturing a stories thematic elements, and presents them deftly. His films can be a wild roller coaster ride when the situation calls for it (Blade II), but he usually handles that with equal aplomb and understands how to go big, without getting bloated. The Warner brother's style cartoon humor in Hellboy II set off warning signals -- could that wonderful ‘big kid’ mind-set of his turn into stupid childishness the way it has for George Lucas? Lets hope not -- and lets hope he continues to return home and make movies like this and the Devil's Backbone – I think they keep him sober and grounded, while still allowing him to play in magical realms.

While nothing was going to surpass what amounts to my second favorite film of the decade (behind Lost in Translation) – there were several outstanding features. Among them Notes of a Scandal, a sharply scripted acting tour de force with Cate Blanchett and Judi Dench. Bong Joon-Ho's great creature feature, The Host, which offers a political spanking in addition to the thrills and chills. Susanne Bier's powerful After the Wedding - and one of my cult favorites, the odd, suicidal/after-life/romance – Wristcutters: A Love Story.

Oscar finally gave Martin Scorsese his due - The Departed is a good -if a over the top- picture, that's less a police procedural and more an exploration of the psychology of two men pretending to be who they aren't. It features some standout performances from Damon, Nicholson and especially DeCaprio, who is finally starting to look like an adult. It’s not Martin's best but it is worthy of high praise.

I liked Oscar's other nominees, though Little Miss Sunshine didn't knock me out.

Other movies I enjoyed include: Casino Royale, Half Nelson, Black Book, Stranger Than Fiction, 10 Items or Less, Hollywoodland, the Bridge, Factory Girl, Volver, Friends With Money, The Fountain, The Queen and loudQUIETloud: A Film About the Pixies

[Mighty Jack]

2007
Once (Director: John Carney)
Nominees: 4 Months, 3 Weeks and 2 Days, The Counterfeiters, Juno, Lust/Caution, There Will Be Blood, The Diving Bell and the Butterfly, My Winnipeg, Across the Universe, Enchanted

Oscars pick: No Country For Old Men
Nominees: Atonement, Juno, Michael Clayton, There Will Be Blood

I can’t jump on the No Country for Old Men bandwagon – It has a brilliant set-up and moments of pure cinematic bliss, but the film falls apart for me in its final act. I get that the old guys talking is the philosophical point of the film -- but you could have had that AND the big dramatic confrontation you were setting up throughout the film as well. Killing your protagonist off-screen was a bad move; it destroyed the dramatic pulse that was building to a fever pitch. For me it was akin to listening to an orchestra play, and as they approach the stunning crescendo… the musicians shrug, set down their instruments, walk off stage and then talk you through the music. Still, it was nice that the Brother's Coen finally received some Oscar love. The movie sparked a lot of healthy adult debate, and a lot of healthy (and unhealthy) adult minds went to see it, so that was encouraging at least.

Certain American critics were incensed when it lost the Palme d’Or to 4 Months, 3 Weeks and Two Days at Cannes. But I agree with the selection. 4 Months is a devastating and discomforting story of a woman who helps her friend get an illegal abortion in Romania (and the time and place and politics is essential to the story). Anamaria Marinca gives a striking, minimalist performance - playing a student who is wrangled into to fixing her incompetent friends messes. In doing so, she finds herself dragged through an emotional nightmare. This isn't a fun movie; it's brutally painful and starkly filmed. At times it made me sick to my stomach. Not only for what it shows - but also for what you're not shown, or what you hear (that terrible sound in the pitch black hall of an apt complex). But it is so accomplished in telling its story -so unforgettable- that I was very tempted to give it the Felix. I would have done so if not for one lovely tale that -as RT puts it- "set the standard for the modern musical".

If 4 Months shatters, Once beguiles.

Set in my beloved Ireland - Once is a delicate, tender love story about fellow musicians/kindred spirits – who are also in troubled relationships with others. It's a small film, the direction and script is unpolished, and because the leads are musicians and not actors you get some off-key delivery of lines. But that’s to the films advantage as well as its charm -- the bond between these two felt natural, real.

The characters were fully formed people (he's self effacing, she's frank) who I liked and could relate too – which helps facilitate the connection I have with it. But it also offers so many small treasures: The scene in the music store when they first play together (the Oscar winning number "Falling Slowly", which is described by the director as the equivalent of their love scene). The bit when she writes lyrics for his music, and -after buying batteries for her walkman- makes the trek back home, wearing her PJs and large fluffy slippers, singing the track as she goes. I liked the moment on the bus where he's answering her questions through singing and playing his guitar (something I've done on a number of occasions). And I enjoyed watching these two wander around Dublin, getting to know one another, as she drags the vacuum he fixed for her like a puppy on a leash.

While theirs not much story, and what there is, is related mostly via the brilliant songs, it is wise in its observations on the nature of relationships. Not everything is cut and dried, just as it is with real-life love, which can be difficult to define and place in a nice neat box. Sometimes a heart can be split in two places, and belong to two different people. The relationship here isn't physical, though there is an obvious attraction. It's primarily based on respect and kindness and the shared love for music.

It's a beautiful beautiful story, a beautiful relationship backed by beautiful tunes. The formula to its success is as simple as that.

Of the remaining Oscars noms I absolutely hated Atonement and wish Once had garnered its slot. Michael Clayton wasn't bad; There Will Be Blood is impressive. Juno was a special one. Whip smart and funny, with a good heart. It features one of Ellen Page's very best performances.

Other features I didn't nominate but liked include, Eastern Promises, Waitress, I’m Not There, The Visitor, Reign Over Me, Shoot Em Up, Persepolis, The Darjeeling Limited, Charlie Wilson’s War, The Lookout, Mesrine: Killer Instinct pt 1, Before the Devil Knows Your Dead, Breach, The Savages, Gone Baby Gone, Chop Shop, The Assassination of Jessie James by the Coward Robert Ford, Dedication and Edge of Heaven.