AMPAS Update - Foreign Language Films

Foreign Language Films for 2006 Oscar®

The Academy of Motion Picture Arts and Sciences (AMPAS®) has invited 83 countries to submit films for consideration in the Foreign Language Film category for the 79th Academy Awards®. To qualify for the 2006 awards year, a film must be released in the submitting country between October 1, 2005 and September 30, 2006, and be publicly screened in 35mm or 70mm film for at least seven consecutive days in a commercial motion picture theater. The dialogue track must be predominantly in a language or languages other than English. Accurate English subtitles are required.

Last year, the Academy invited 91 countries to submit films and 58 accepted, a record number. Coata Rica, Fiji and Iraq were first-time entrants. The South African film TSOTSI, directed by Gavin Hood, won the Oscar over a field of nominated films from France, Germany, Italy and the Palestinian Territories. This year, The republics of Azerbaijan and Kyrgyzstan will be first-time invitees.

Since the category’s establishment in 1956, 102 different countries have submitted films to compete for the Oscar for Best Foreign Language Film. The first award went to Italy for LA STRADA (The Road), directed by Frederico Fellini.

See link on sidebar at right for the 79th awards schedule. Countries that have not received letters of invitation and are interested in submitting a film for consideration should contact Awards Coordinator Torene Svitil at (310) 247-3000, ext. 116 or via e-mail at tsvitil@oscars.org.

79th Oscar® Rules Approved by Academy

The governors of the Academy of Motion Picture Arts and Sciences have approved the rules for the 79th Academy Awards®, endorsing a series of changes that the organization’s president, Sid Ganis, characterized as “constructive but not earthshaking.”

The biggest change institutes a two-stage process in determining the nominations in the Foreign Language Film Award category. The new approach will allow New York-based Academy members to participate for the first time in selecting the nominations for the category.

Foreign Language nominations for 2006 will be arrived at in two phases overseen by two essentially distinct screening committees. The Phase I committee will be the same several-hundred-member Los Angeles-based group that has viewed the roughly 60 annual submissions in past years and selected the five nominees from the field. For the 2006 Awards though, the Phase I committee will arrive at a nine-country shortlist.

The Phase II committee, made up of ten randomly selected members of the original committee, ten Los Angeles-based members not on the original committee, and ten New York-area members, will view the shortlisted films in a three-day bicoastal marathon and select the nominees from that field.

In addition to allowing New York members to participate, more busy working members will be encouraged to participate in the process because they will no longer need to commit to viewing all the submissions over several months. A time-consuming process that discouraged many members.

In another change for the Foreign Language award, entries submitted in the category no longer must be in an official language of the country submitting the film. So long as the dominant language is not English, a picture from any country may be in any language or combination of languages. Last year, the Italians wanted to submit a picture that was clearly made by Italian artists, and which qualified for the category in every other way except one: there was no Italian language in it. All the dialogue was in Middle Eastern languages.

Executive director Bruce Davis said, “The rules clearly prohibited that, but the situation didn’t seem fair to us. So if the Taiwanese want to send us a picture with exclusively Portuguese dialogue this year, we’re ready for them.”

Rules are reviewed annually by branch and category committees. The Awards Rules Committee then reviews all proposed changes before presenting its recommendations to the Academy’s Board of Governors.

Academy Award® nominations will be announced in January at the Academy. The 79th Annual Academy Awards Presentation will be telecast live from the Kodak Theatre at Hollywood & Highland Center by the ABC Television Network on Sunday, February 25, 2007. See link at right for the 79th Awards schedule.

Why MUNICH Missed

I wrote a review of the movie MUNICH. It was longer than I expected. Therefore, I have posted it on my personal Web site. Please, take the time to read it. You can then return here to post a comment. Thank you. "Why MUNICH Missed," the review.

GORE'S TRUTH IS INCONVENIENT

Paramount Classics and Participant Productions present AN INCONVENIENT TRUTH, directed by Davis Guggenheim, featuring former Vice President Al Gore. The documentary was released 24 May and is distributed by Paramount Classics. The running time is one hour, 40 min. The widest release since opening has been only 122 theaters.

Yet, in limited release as of Thursday, 8 June, the film is taking in about $134,000 a day. The total gross is $2,478,370, according to Box Office Mojo. The opening weekend gross was only $281,000, a pittance by feature film standards, but not bad for a documentary.

AN INCONVENIENT TRUTH is not a story of despair but a rallying cry to protect the one planet we all share, a message Gore has been expounding for decades. Critics generally agree that Gore's persuasive argument is one whereby we can no longer afford to view global warming as a political issue - rather, it is the biggest moral challenge facing our global civilization. The Earth is, after all, the only home we have.

The majority of critics have given it high marks, and it was a hit at the Sundance Film Festival earlier this year. Read full reviews at ROTTEN TOMATOES.

Roger Ebert, Chicago Sun-Times, gave TRUTH two thumbs up when he wrote:

"When I said I was going to a press screening of 'An Inconvenient Truth,' a friend said, 'Al Gore talking about the environment! Bor...ing!' This is not a boring film. The director, Davis Guggenheim, uses words, images and Gore's concise litany of facts to build a film that is fascinating and relentless. In 39 years, I have never written these words in a movie review, but here they are: You owe it to yourself to see this film. If you do not, and you have grandchildren, you should explain to them why you decided not to."

Kevin Crust, Los Angeles Times Staff Writer wrote:

"Gore might not be anybody's idea of a pitchman, but here he's matched with the right topic, one for which he demonstrates real passion. He's charming, intelligent, professorial and one might even say … presidential. In fact, more than one observer has commented that if this Al Gore had been more visible during the 2000 election there may have been a different outcome."

Words and phrases that keep repeating in the reviews I read? "Intelligently presented, warm, insightful, informative, enlightening, surprisingly entertaining, well-reasoned, highly polished, mandatory viewing, frightening, and well-rehearsed."

According to director Davis Guggenheim, "Al Gore strips his presentations of politics, laying out the facts for the audience to draw their own conclusions in a charming, funny and engaging style, and by the end has everyone on the edge of their seats, gripped by his haunting message."

The promo for Gore's book of the same title, which was released to co-inside with the movie, states in part, "Destined to become a classic, this accessible, entertaining, and thorough book is a unique reference for anyone who wants more information about global warming as well a guidebook for those who want to join the fight."

Mimi's comment: Global warming is real! It is caused by humans simply going about everyday activities, even the simple act of a mammal exhaling, and we are mammals, emits carbon dioxide (CO2), the most detrimental of the greenhouse gases (GHG). See GHG Chart on Wikipedia. The warming is escalating as the population escalates, and as humans burn more and more fossil fuels, i.e., coal and oil, causing more build up of CO2 and other GHG.

Bottom line about this film? As Owen Gleiberman asks in Entertainment Weekly, "AN INCONVENIENT TRUTH can't, of course, reveal a future that is still up to us, but by the time you're done watching, the real question is, Which way on God's green earth would you want to err?"

Comments anyone? Have you seen this documentary?

NETFLIX ROADSHOW

Online movie rental-service Netflix will screen 10 classics this August at locations made famous by the films. The Netflix Rolling Roadshow, a coast-to-coast promotional tour, begins 2 August at New York's Coney Island with the 1979 gang movie, THE WARRIORS.

Some of the stops include Dyersville, Iowa, in a baseball field surrounded by cornstalks for FIELD OF DREAMS; Martha's Vineyard, Mass., for the now 'old war horse' JAWS; Northbrook, Illinois, for FERRIS BUELLER'S DAY OFF; and so it goes all the way to San Francisco's Alcatraz Island for ESCAPE FROM ALCATRAZ.

Other activities related to the films will be held in association with the tour, such as raft floating in the ocean during JAWS. Some directors and cast members may attend some of the screenings. For instance, Director Kevin Smith and cast members are expected to be on hand for CLERKS at a Quick Stop in Leonardo, N.J.

More locations and movies on the tour at: NETFLIX

A READER TAKES ISSUE

I received a comment by e-mail from Voloras in France regarding my post 10 May, "CARDINALS SAY IGNORANCE FUELS 'DA VINCI CODE'.

I have answered on my "Boggling the Mind" blog. Click the link under LINKS at right to read my answer.

FILM FESTIVAL PAGE UPDATE

Today's update of my Film Festival Page reports the major awards at the recently completed Cannes International Film Festival. I've gone out of my way to provide a link for each film so that you need not waste time in finding information about the film in which you are interested. There are links to a list of all the winners, the Cannes IFF Official Site, and a link to read my 2006 Cannes Highlights.

On this blog, check my NEWSVINE link at the bottom of the right sidebar for the article reporting that Italian actress Monica Belucci (Magdalen, The Passion of Christ, 2004), who served on the main jury at Cannes, has agreed to star as Sonia Gandhi, the Italian-born woman who married into India's most powerful political dynasty and now heads the country's ruling party. The deal was made at Cannes.

SECOND: MIMI AND THE CODE

Please read the previous post before reading this one. Thanks!

How did I find the THE DA VINCI CODE -- the movie? Unfortunately, I saw it in a theater where they were pushing the high-tech surround-sound system much too loudly. That was extremely distracting. I thought Tom Hanks' acting was below par for him. I don't think he got Robert, and that Tautou's Sophie should have been stronger.

In the book there is the impression that there are "sparks" between Robert and Sophie, that their relationship will continue after "The End". I felt none of that in the movie. In a movie one must feel relationships between characters, not only rationalize them. I didn't feel it in this movie between Hanks and Tautou. I agree with the majority of the critics.

The book is a splendid read for intellectuals who know something about comparative religions, the Masonic Order, the Druids, Greek and Roman mythology, symbolism, etc. It's for those who do not obediently swallow the force-fed doctrines of any religion, but who are "seekers" and can ponder the "what ifs". I am a what-if person, with enough of an education to separate out the contrived fiction from recorded history.

I loved the book, scanning it again before seeing the movie. I most definitely enjoyed the movie, and expect to get the DVD the moment it is released. It will go in my library with THE PASSOVER PLOT (1976), and THE LAST TEMPTATION OF CHRIST (1988).

The DA VINCI CODE movie is a puzzle to solve, a suspenseful thriller, and I think it gives better than the critics gave to it! Yes, there is a lot of exposition and dialog, but all necessary to the intent of the movie. Luckily, I still maintain the art of listening and comprehending. Apparently, some of the critics do not. I recommend it to all adults who can think for themselves, and enjoy a very suspense-filled movie experience.

Finally, may I state that all the critics I read were males. Could it be the male of the species still has a problem with women and divinity? I couldn't help seeing that director Ron Howard actually "got" the premise of Dan Brown's book. You know, the possibility that a female might be capable of communing with God, teaching, and preaching, contain the Devine within her. If we believe the words of Jesus in the New Testament, he would have had no problem in designating a woman to carry on his work.

Most of the sexist problems in Christianity arose first from Saul of Tarsus, a.k.a., Apostle Paul, and then quite possibly from the Nicene Council who chose the writings to be included in the Holy Bible -- all men. The Nicene Council is a historical fact. Basically, the movie is not about theology, but does the male psyche automatically get defensive and make it so, as with homosexuality?

Jesus was married? Just the thought offends many. However, Jesus was about 30 when he came on the public scene. In his time, a male of his age would have been one of two things -- married, or a homosexual. So, Christians, which do you prefer that he was? After all, he was "God made flesh"/human. Being a female, sexual preference of others does not threaten me. Did it threaten some early Christian males as it threatens some males today?

Jesus married to Mary Magdalene? From the female perspective, that could be the greatest book ever written.

First: THE DA VINCI CODE Critics

Surfing the Web I found that, basically, those critics who were negative found THE DA VINCI CODE too talky, plodding, stodgy, too literal, and containing too much exposition. Variety film critic Todd McCarthy wrote that the bestseller had been turned into a cinematic "grim thing".

One accused Tom Hanks (Robert Langdon) of performing like a zombie. Some critics found the weight of screenwriter Akiva Goldsman's script too heavy to bear, saying Langdon's lengthy asides on religious and cultural icons choked the story's suspense.

Another critic asserted that there was no chemistry between Hanks and Audrey Tautou (Sophie Neveu). Still others complained that there was too much music, and the film was overly grandiose.

Only one critic that I read confessed that he had not read the book. No wonder he did not get it. I wonder how many others never read the book, either.

Almost all the critics agreed that Sir Ian McKellen was outstanding in the role of Leigh Teabing. I wonder if they will submit him to the Academy as a lead, or supporting actor?

Of course, Opus Dei was negative. Mike Collett-White reported that the conservative Catholic movement depicted as a murderous cult in THE DA VINCI CODE invited media in Rome to one of its vocational schools in a working class section of the Italian capital. The aim was to show off the school's training of young people to be mechanics, electricians and chefs as an example of the good works done by Opus Dei. Opus Dei spokesman Manuel Sanchez Hurtado, referring to the movie said, "Soon this regrettable but fleeting episode will be forgotten. . . . Let us hope that its lessons about mutual respect and understanding are not."

Collett-White also reported that Lou Lumenick of the New York Post was far more upbeat: "Ron Howard's splendid. THE DIVINCI CODE is the Holy Grail of summer blockbusters: a crackling, fast-moving thriller that's every bit as brainy and irresistible as Dan Brown's controversial bestseller."

Sir Ian tried to make light of the controversy. "I'm very happy to believe that Jesus was married," he said. "I know the Catholic Church has problems with gay people and I thought this would be absolute proof that Jesus was not gay."

Director Ron Howard said, "There's no question that the film is likely to be upsetting to some people," Howard told reporters. "My advice, since virtually no one has really seen the movie yet, is to not go see the movie if you think you're going to be upset. Wait. Talk to somebody who has seen it. Discuss it. And then arrive at an opinion about the movie itself. . . . This is supposed to be entertainment, it's not theology."

Next: What Mimi thinks of THE DA VINCI CODE, the movie.

DA VINCI CODE Weekend Best of Year

The critics at Cannes may have crucified THE DA VINCI CODE, but viewers voted at the box office, and its opening weekend was a winner. The domestic take was $77 Million, with a worldwide take of $224 M, according to Sony Pictures.

Although both figures certainly exceeded the forecasts of the critics, the domestic box office did not top the all-time record of the 2002 U. S. opening domestic weekend for SPIDER-MAN: The Motion Picture, $115 M. Worldwide, the record for an opening weekend is last year's STAR WARS: Episode III - Revenge of the Sith's $254 M.

The animated OVER THE HEDGE (# 2), which radical Christian groups suggested as alternative movie-going for the weekend, came in a little over $37 M, and SEE NO EVIL (# 6) grossed a little over $4 M. Placing at 3, 4, and 5, were the previously released MISSION: IMPOSSIBLE III ($11 M), POSEIDON ($9 M), and RV ($5 M).

The big question on everyone's mind now? Does THE DA VINCI CODE have legs?

Next Post - Chewing the "DA VINCI" Critics.

"CODE' and SIX OTHER MOVIES OPENING TOMORROW

Seven movies are opening tomorrow, only three nationwide, and only one for which the viewing public over 17 is probably waiting - THE DA VINCI CODE. It will open with OVER THE HEDGE from Dreamworks, and SEE NO EVIL.

Actually, THE DA VINCI CODE is opening world-wide, starting in China. From there, it will follow the International Time Line around the globe. I think by now all my readers know something about THE CODE. I read the book, and expect to see it tomorrow. I shall post much more about it.

OVER THE HEDGE (d. Tim Johnson & Karey Kirkpatrick) is another cutie-pie animated film from Dreamworks populated with talking animals voiced by celebrity actors: Bruce Willis, Garry Shandling, Wanda Sykes, William Shatner, Nick Nolte, Thomas Haden Church, Allison Janney, etc.

SEE NO EVIL (d. Gregory Dark) is not to be confused with the alternate title for George Clooney's SYRIANA. This one is a horror flick aimed at the 13 to 20 year-old, hormone-pumping teens who are ending the school year in many places as I write, and are ready to p-a-r-t-y. The taglines? "Eight Teens, One Weekend, One Serial Killer," and "This Summer, Evil Gets Raw." I think you get the picture. It may do very well its first weekend out up against a kiddy flick and an intellectual adult movie. On the other hand, it may not.

The four films in limited release for those who live in New York and Los Angeles deserve a mention, but I doubt that anyone is holding his/her breath to see them. In the New York area only: LEMMING and MOUTH TO MOUTH.

In the New York and L. A. areas: THE KING (d. James Marsh). Mexican actor Gael García Bernal portrays twenty-one year old Elvis who, recently honorably discharged from the U.S. Navy returns to Corpus Christi, Texas, to seek out his gringo father, whom Elvis has never known because he was raised by his Mexican mother. His father is pastor of a local Baptist church, and he immediately rejects Elvis. Violence and tragedy of biblical proportions are unleashed when Elvis enters into a relationship with his half-sister. I give the synopsis for this film because Bernal is wonderful eye candy for female viewers and a good actor, too. Besides, this film intrigues me since I once lived in Corpus Christi, and I've known some ministers who weren't all their congregations thought they were. Really!

Then, there is something called TWELVE AND HOLDING in very limited release. I think THE DA VINCI CODE and OVER THE HEDGE will edge out the rest by a significant margin. Happy viewing!

In God we trust. The rest we monitor.

"In God we trust. The rest we monitor," is one of the "tag lines" for the 1998 movie ENEMY OF THE STATE, starring Will Smith, Gene Hackman, Jon Voight, Lisa Bonet, and directed by Tony Scott. It's about chicanery in the National Security Administration (NSA), which is literally drunk on power and running amuck, spying on Americans to the max. Does the NSA and spying on Americans ring a bell for you? The movie is, of course, fiction. Or, is it?

A successful lawyer named Robert Dean (Smith) meets an old pal, frightened and running, who slips Robert a computer disc without his knowledge just before the pal is killed. A senior officer at the NSA with the last name of Reynolds (Voight) wants that disc back because it implicates him in the politically motivated murder of a U.S. Congressman, and he will stop at nothing to get it.

Robert is viciously pursued, and it takes him awhile to discover the disc, not before another friend is murdered. He knows the danger he is in and contacts a old friend "Brill" Lyle, a technical genius who formerly worked at the NSA.

Meanwhile, Reynolds uses all the sophisticated spying equipment, and personnel at the NSA to wiretap, film, tap into all kinds of personal files, etc. He tracks first Robert and then Brill, in order to eliminate both of them, neither of whom have broken a law. Well, not until they realize what is going down. Then, to heck with the law, survival is paramount. Of course, Robert and Brill are the good guys from the get-go, and they win, but only after one life-threatening experience after another.

Back in the real world. Someone asked the question on the IMDB, "Can you imagine not having any privacy at all?" My answer is, "That day is here. No need to imagine."

After what has gone down with the CIA, the NSA, and the former head of the NSA General Michael Hayden in recent weeks, any rational American can see the handwriting on the wall. The premise of ENEMY OF THE STATE is coming true right before our eyes. We are watching the nightly news, not a movie. If Hayden is appointed head of the CIA, he will have it, the NSA, and the Pentagon in his pocket. All are under the Executive Branch. Never in my lifetime have I seen so much power concentrated in the Executive Branch. Yee Gads!

If you haven't seen this movie, get it. It will scare even the casual viewer enough to vote for a Democrat this fall.

CARDINALS SAY IGNORANCE FUELS "DA VINCI CODE"

Thanks to Salam Pax, also a member of Newsvine, I am learning some new Internet communication skills, and I just "seeded" my first article. You will find the article(s) on the sidebar at right, at the very bottom under MIMI'S NEWSVINE LINKS. Also, you may click the title of this post for this particular article, but links to most articles may be linked independently of posts.

Anyway, my first article seeded is about Roman Catholic Cardinals bemoaning the religious ignorance they say fuels worldwide interest in the best-selling novel "The Da Vinci Code," now a film that will premiere May 17 at the Cannes Film Festival. This begs the question. If Christians, especially Roman Catholics, are ignorant about the precepts of their faith, whose fault is that?

Answer: The fault, dear sirs, is yours!

FILM FESTIVAL PAGE UPDATED

My Film Festival Page has just been updated. Updates include the San Francisco International Film Festival, the Tribeca Film Festival, and the Hot Docs Canadian International Documentary Festival, Toronto. All are winding down this week. Plus, there's info about the upcoming Cannes International Film Festival, and lots of links. See the sidebar LINKS at right for link to Mimi's Film Festival Page.

2006 Daytime Emmy Awards

In case you missed the broadcast last night for the 33rd Annual Daytime Emmy Awards, you can see the full list of winners and a breakdown of multiple awards on the Official Emmy Site. I watched only part of it myself. That's how exciting it was. Yawn!

We are having bad storms again this weekend. They limit my time online. There was another tornado this week that tracked the same path as the deadly storms that wrecked most of Caruthersville, MO, and Dyer County, TN, April 2nd. Both went by about 10 miles north of me. Getting too close for comfort! So, hope to be here next week for another post.

NEXT YEAR'S OSCAR® SCHEDULE ANNOUNCED

It is hard to believe but last week Sid Ganis, President of the Academy of Motion Picture Arts and Sciences®, announced some of the key dates for the 79th Academy Awards®. They are moving the schedule back next year. The presentations are scheduled for Sunday, February 25, 2007. The telecast will again originate from the Kodak Theatre at the Hollywood and Highland Center® in Hollywood and broadcast on ABC.

The announced key dates:

Friday, December 1, 2006: Official Screen Credits Forms Due.

Tuesday, December 26, 2006: Nominations ballots mailed.

Saturday, January 13, 2007: Nominations polls close 5 p.m., PST.

Tuesday, January 23, 2007: Nominations announced 5:30 a.m., PST.

Wednesday, January 31, 2007: Final ballots mailed.

Monday, February 5, 2007: Nominees Luncheon.

Saturday, February 10, 2007: Scientific and Technical Awards Dinner.

Tuesday, February 20, 2007: Final polls close 5 p.m., PST.

Sunday, February 25, 2007: 79th Annual Academy Awards Presentation.

I will post other dates, such as the deadline for the Best Foreign Film, when they become available.

WRITERS GUILD CROWNS "CASABLANCA" SCRIPT

Bottom of Form

The Writers Guild of America chose the script for CASABLANCA as the "top dog" of the "101 Greatest Screenplays" last night in Beverly Hills. The screenplay by Julius Epstein, Philip Epstein and Howard Koch was followed by Mario Puzo and Francis Ford Coppola's THE GODFATHER; Robert Towne's CHINATOWN; Herman Mankiewicz and Orson Welles' CITIZEN KANE; Joseph Mankiewicz's ALL ABOUT EVE; Woody Allen and Marshall Brickman's ANNIE HALL; Charles Brackett, Billy Wilder and D.M. Marshman Jr.'s SUNSET BLVD.; Paddy Chayefsky's NEWORK; Billy Wilder and I.A.L. Diamond's SOME LIKE IT HOT; with Coppola and Puzo's THE GODFATHER PART II rounding out the top 10.

Three writers -- Allen, Coppola and Wilder -- have four films on the list, while three others have three: William Goldman, John Huston and Charlie Kaufman. Forty-five are original scripts, while 56 are adaptations. The list is also heavy on dramas (60), as opposed to comedies (26) and comedy/dramas (15).

Full credits and the complete list may be found at www.wga.org. Now, all you aspiring screenwriters, get busy reading them!

"9 to 5" Celebrates 25th

(Parton, Tomlin, Fonda, 2006)

Has it really been 25 years since I belonged to the Los Angeles Working Women and was an unpaid consultant on the movie "9 to 5"? Yes, it has been. Last week, some of the cast and crew got together for an anniversary celebration in Los Angeles. So, I took my official "9 to 5" mug down from the shelf and toasted with a cup of coffee in honor of the occasion, since I am far from Los Angeles now. The official logo is on one side of the mug, and on the back it reads, "I pour my own from 9 to 5." Still do. Read more about it.

ARE ACADEMY AWARDS® PASSE?

Sorry. I simply had to revisit this issue.

Patrick Goldstein, writing for The Los Angeles Times recently wrote, "Ratings are crumbling for the Oscars®, and award shows in general, because the Era of the Mass Event is drawing to a close." He maintains this is now the Era of Niches.

Hundreds of television channels are available. Thousands of Web sites about movies and television, most with video and Flash graphics are on the Internet, cell phones, iPods, etc. Then, there is a movie released on CD almost each day, as well as a new video game. All these things compete for leisure time, a TV viewer's attention, and for moviegoers' dollars.

No longer do the majority of Americans tune in to a mass event such as "Miss America," "Miss USA," or even a speech by the president of the United States. I am one who never watches any of the above.

Goldstein wrote, "With the exception of the Super Bowl, which seems immune to anything short of a civil war, even the biggest sports and show biz events find their ratings in decline." I used to tune in for the Super Bowl half-time show, but the quality of that event is in decline, so I don't now.

American Idol is the preferred TV show of most Americans, easily trouncing even the Winter Olympics, another endangered mass TV event. So-called "reality shows" reign supreme across the airwaves. Mindless fodder for simple minds.

The ratings for the Oscar broadcast, a mass event, dipped again this year, the lowest since 1987 when CHICAGO took the best-picture award. Not many had seen one of the top nominated films before the Oscars were awarded March 5, and few have since.

Millions of moviegoers did not see the challenging 1969's MIDNIGHT COWBOY or 1999's AMRICAN BEAUTY before the Oscars either, but they headed to the theaters after those films were crowned "Best Picture." Not this year. However, in all fairness, all the movies except CRASH were released after October 2005.

Still at this post, a month after the Oscars, the five films have grossed only $242M collectively, or an average take of $48M per movie. A trivial amount for a U.S. Box Office take. Compare that with STAR WARS: EPISODE III's $380M.

Only BROKEBACK MOUNTAIN (23rd) and CRASH (49th) have cracked the top-50 list. Four movies that have scored in the top 50, having received at least one Oscar nod, are WALK THE LINE (17TH), CINDERELLA MAN (42nd), MEMOIRS OF A GUISHA (45th), and WALLACE & GROMIT (47th). With results like this, we analysts have a right to ponder, "What's up with all this?"

Box Office figures from boxofficemojo.com

FINAL WORDS ABOUT THIS YEAR'S OSCARS®

For those who watched the Academy Awards® March 5th, the evening turned into a night of surprises when the movie CRASH edged out BROKEBACK MOUNTAIN for Best Picture. Yet, there were some downsides to the broadcast, and host Jon Stewart was the biggest disappointment for many, including myself, and according to the multiple press reports I read.

Frazier Moore, AP television writer wrote, "[Stewart's] usually impeccable blend of puckishness and self-effacement fell flat in the service of Oscar®." At one point Stewart reminded the audience that he is an outsider to the movie business quipping, "Tonight is the night we celebrate excellence in film with ME, the fourth male lead from 'Death to Smoochy." He also refrained from strong political humor as not to offend the dozen or so Republicans that might have been present.

To me, Stewart was awkward from the beginning. His timing was definitely off, unless it is like that all the time. His zings at obvious targets had no sting. His biggest laugh was a reference to the swan dress that singer Bjork wore in 2001. That was an easy hit. His jokes received mostly polite laughter.

The program got off to a good start with the audience-pleasing Best Supporting Actor award to George Clooney for SYRIANA. Then, it hit a slump.

THE MINUSES -

Following the first award, there was about an hour of salutes to visual effects, animated feature film, live action short film, animated short film, sound editing, costume design and makeup, etc., awards that mean nothing to anyone outside the industry.

AP writer Bob Thomas asked why those awards couldn't be presented at another time like the technical awards. Then, he answered his own question with "no," for three reasons: The Academy makes enough money from the awards to finance its yearly activities, ABC also earns a bundle from commercials on the show, and the Board of Governors consists of representatives of all the creative branches. None would ever permit their categories to be downgraded.

Film montages that were cut so rapidly that the average viewer couldn't follow them was another minus. I mean, you see someone on the scene and ask yourself, "Now, who is that?" Poof, on to the next clip before your mind can answer its own question. Can't those young hot shots slow the pace just a tad in the montages? To me, those were the most annoying segments.

Actually, some were somewhat defacing, especially the "Brokeback Mountain" spoof depicting the likes of John Wayne, Jimmy Stewart, Alan Ladd, etc., with dialog and non-verbal behavior that suggested they were actually depicting homosexual characters. The clips were obviously doctored.

Another montage made fun of the first names of the best-actress nominees, Judi, Felicity, Keira, Charlize, and Reese. Bad taste as well. Then, there was the black & white salute to film noir that interrupted the flow of the program, and had no relation to the rest of the program whatsoever, at least as far as I could tell.

Finally, Stewart quipped, "I can't wait until we have another montage." The audience showed agreement.

THE PLUSES -

The best song category was cut to three nominees, all the film scores where showcased in one medley, there weren't hardly any attempts by the presenters to make cute remarks, and the majority of the females walked to the podium by themselves, proving they actually could get there without being on the arm of some superfluous male. Biggest kudos in that department go to the 81-year-old Lauren Bacall.

Director/writer/producer Robert Altman, whom I have long admired, received a long standing ovation as the recipient of an honorary Oscar for his extensive career as director of risky movies. I didn't know he had a complete heart transplant a few years back. He is still going strong at 81.

The rousing performance by Dolly Parton, singing the song she wrote and performed for TRANSAMERICA, "Travelin' Through." I saw Dolly perform live when I attended the Academy Awards in the early 1980s. In that particular show, she sang the song she wrote for the movie NINE TO FIVE ("9 to 5"), which was nominated. Although her voice is getting a little thin, she is still a bundle of talent and exuberance that excites audiences wherever she appears. Afterwards, the attendees showed their appreciation of the performance.

The Three 6 Mafia performing "It's Hard Out Here for a Pimp," from HUSTLE & FLOW. I'm not a fan of hip hop, and can't abide rap, but I liked this song, especially the beautiful vocalist Taraji Henson. She sang the over-laid melody (the hook), and portrayed Shug in the movie.

I saw the movie after the awards, and I think Terrence Howard was robbed for the best actor award. Oh, I know that Philip Seymour Hoffman (Capote) turned in a terrific imitative performance, but Howard brought his character to life as an original. The same can be said about Felicity Huffman (Transamerica) as compared to Reese Witherspoon (Walk the Line) for best actress. I've seen WALK the LINE, and I didn't see the substance in the performance, but I'm tough.

You see, I'm growing weary of actors and actresses getting awards for imitating a formerly famous, now dead person. I have seen every motion picture, and many TV shows starring Katherine Hepburn, and I still do not think that Cate Blanchett deserved the best supporting actress award in 2005 for her portrayal of the strong inimitable Kate.

THE AFTERGLOW -

The TV ratings came in 6 March, and they were down. According to Lynn Elber, an AP entertainment writer, an estimated 39 million people watched the Academy Awards this year, as compared to 42 million last year, which pulled a 30 rating and 43 share. This year's was 27 and 40, each down three points.

According to Nielsen Media Research, the Oscars hadn't dipped below 40 million viewers since 1987, except for the 2003 count of 33 million viewers when CHICAGO took the best-picture award.

However, the Oscars did give ABC a welcome ratings boost over its network rivals, ranking as the night's most popular show by far, and the most watched non-sports broadcast so far this season. Here is the statistic that counts the most, the Oscars remain a coveted program for advertisers, with the average cost of a 30-second commercial spot on the Academy Awards costing about $1.5 million in 2004 and 2005.

Frazier Moore wrote that the biggest winner of the night could be Jon Stewart, because many viewers of the broadcast might tune in to Comedy Central's "The Daily Show" for the first time. Then, again, if they had the same reaction I did, not likely.

A GANGSTER, GEISHA, GROMIT, KING, and PENGUINS

GANGSTER = TSOTSI (gangster, hoodlum, thug) was the Oscar® winner for Best Foreign Language Film of 2005 at the 78th Academy Awards, 5 March 2006. Written and directed by Gavin Hood, this U.K./South African film is set in the Johannesburg township of Soweto. TSOTSI traces six days in the life of a ruthless young gang leader who ends up caring for a baby accidentally kidnapped during a car-jacking, which becomes a life-altering experience. It opened wide 24 February 2006, and is distributed by Miramax.

GEISHA = MEMORIES OF A GEISHA, directed by Rob Marshall (CHICAGO, 2002), stars Chinese actress Zhang Zivi (HOUSE OF FLYING DAGGERS, HERO) in her first English-language role, as Sayuri who enters the hidden world of geishas. She is taught that a geisha is not free to love, or to pursue her own destiny. Her mentor, the legendary geisha Mameha (Michelle Yeoh), understands the limits of an intimate relationship with a special patron or danna, and teaches Sayuri to keep her feelings tightly reined. Unlike Sayuri’s defiant rival Hatsumomo (Gong Li), Mameha knows that a proper geisha cannot afford to indulge her passion for any man.

I think this film should have been nominated for the Best Film Academy Award®. It won three statuettes, Art Direction, Cinematography, and Costume Design. Had it been nominated for Best Film, it would have won more. I think it should have been nominated instead of CAPOTE, which contains little to compliment, except the actor Philip Seymour Hoffman's portrayal of the late author Truman Capote. Hoffman won best actor.

GEISHA'S nomination most likely did not happen because all the actors are Chinese, not Japanese. Yet, the film is set in Japan, and everyone knows that geishas exist only in Japan. It was a bad judgment call by someone involved with the film, but the buck must stop on director Rob Marshall's desk.

GROMIT = The winner of the best animated feature film was WALLACE & GROMIT IN THE CURSE OF THE WERE-RABBIT. This hand-crafted clay animated feature film, directed by Nick Parks, is from DreamWorks SKG. Wallace, a cheese-loving inventor, voiced by Peter Sallis, and his loyal dog Gromit set out to discover the mystery behind the garden sabotage that plagues their village and threatens the annual giant vegetable growing contest. The film won almost every major animation award this season.

KING = The mighty ape wasn't nominated for Best Film of 2005, but KING KONG, directed by Peter Jackson, roared in three major technical awards, Sound Editing, Sound Mixing, and Visual Effects. The folks at Lucas' Industrial Light & Magic must be fuming. KONG will be released on DVD 28 March.

PENGUINS = Lots of them in the documentary feature winner, MARCH OF THE PENGUINS (La Marche de l'empereur), narrated by Morgan Freeman and directed by Luc Jacquet. It is an independent film (Canal+, France, in association with Buena Vista International Films, France), distributed by National Geographic Feature Films, and Warner Independent Pictures. PENGUINS documents the amazing march of the Emperor Penguins in order to procreate in a certain location of Antarctica. It is available now on DVD.

OSCAR® WINNERS IN A NUTSHELL

Here is the nutshell:

Motion Picture, CRASH; Director, Ang Lee (Brokeback Mountain); Actor, Philip Seymour Hoffman (Capote); Actress, Reese Witherspoon (Walk the Line); Supporting Actor, George Clooney (Syriana); Supporting Actress, Rachel Weisz (The Constant Gardener); Original Screenplay, CRASH; Adapted Screenplay (BROKEBACK MOUNTAIN). CRASH, directed by Paul Haggis, also received the statuette for Film Editiing, and BROKEBACK won for Original Score (Gustavo Santaolalla).

MEMOIRS OF A GEISHA was nominated in five categories and won statuettes for Art Direction, Cinematography, and Costume Design. However, KING KONG topped MEMOIRS in Sound Editing, and Sound Mixing. Plus, KONG won in Visual Effects, making a total of three wins for both.

Other film wins went to: Foreign Language Film, TSOTSI (South Africa, Gavin Hood, Director); Animated Feature, WALLACE & GROMIT IN THE CURSE OF THE WERE-RABBIT; and Documentary Feature, MARCH OF THE PENGUINS, narrated by Morgan Freeman and directed by Luc Jacquet.

In the Short Films Categories: Documentary Short, A NOTE OF TRIUMPH: THE GOLDEN AGE OF NORMAN CORWIN; Animated Short. THE MOON AND THE SON: AN IMAGINED CONVERSATION; and Live-Action Short, SIX SHOOTER.

The Memphis hip-hop group Three 6 Mafia(Jordon "Juicy J" Houston, Paul "DJ Paul" Beauregard and Darnell "Crunchy Black" Carlton, Cedric "Frayser Boy" Coleman), made history when they performed the first hip-hop song ever performed on an Academy Awards telecast, "It's Hard Out Here for a Pimp" (music and lyrics by Jordan Houston, Cedric Coleman, and Paul Beauregard) from HUSTLE & FLOW. Then, history was made again when the song won the Best Song of 2005. Singer Taraji P. Henson, the actress who played Shug and sang the hook (melody overlay) in the film, sang over the "boys" hip-hop vocal rhythm. The movie DVD and soundtrack CD, with the original explicit lyrics, are available. [Official Oscar Site]

THE ACTING OSCARS® WENT TO . . .

I picked Hoffman and Huffman for the best actor/actress awards, and scored 50 percent. To no one's surprise, Philip Seymour Hoffman won the Oscar® as Best Actor of 2005 for his portrayal of Truman Capote in CAPOTE.

However, I completely underestimated Reese Witherspoon's "Academy Likeability Quotient." She literally grew up in the industry. She, too, portrayed a real-life person, June Carter Cash, in WALK THE LINE.

After stints in modeling, beginning at age 7, and acting in commercials, Witherspoon landed her first major acting role in THE MAN IN THE MOON (1991). That role as a 14-year old tomboy earned her rave reviews. Roles in bigger films such as JACK THE BEAR and A FAR OFF PLACE followed shortly. She added executive producer along with acting credits for LEGALLY BLONDE 2: Red, White and Blonde (2003).

So, Hoffman and Witherspoon portrayed real people, and both were outstanding, the latter doing her own singing. That's always a plus for the Academy voters.

CUT TO:

MIMI
(Slapping herself on the forehead.)
How did I miss it?

MIMI continues to write.

As I wrote in an earlier post, the best supporting actor/actress categories are much harder for me to determine. George Clooney's "likeability quotient" is high, but there was that knawing feeling that Jake Gyllenhaal might ride the coattails of BROKEBACK MOUNTAIN to victory. When he didn't, and Clooney was named the Best Supporting Actor of 2005 (Syriana), with this being the first award bestowed, I began to think that BROKEBACK might not win best picture after all.

Rachel Weisz received the Oscar for Best Supporting Actress of 2005 (The Constant Gardener). She was the favorite going in, and when you read the previous post, "Songs and Scores," please click the link for GARDENER to hear Spanish composer Alberto Iglesias' unusual score. He has been composing for Spanish movies since 1980. GARDENER is based on the novel by John le Carré, and Weisz's co-star is Ralph Fiennes. In my humble opinion, the movie deserved more than it received from the Academy.

AND THE OSCAR® WENT TO . . .

Lucky for me, this is National Procrastinations Week, because I haven't had the energy to tackle synthesizing the Sunday night Oscar® broadcast before today. The major critics have. The interesting thing is that they were mostly miffed that the front runner BROKEBACK MOUNTAIN didn't win. Many were shocked that CRASH did. Too bad. They are professional writers, seeing all the films, so they should have seen the possibility at least. Only a couple of the ones I have read did.

When it came time for Best Director category, the last award before Best Picture, BROKEBACK had been awarded statuettes for Adapted Screenplay and Original Score, and CRASH for Original Screenplay and Film Editing. They were basically even in the race. Each had made a slim showing compared to previous best picture wins. So, at that point, it was impossible to call the best picture winner.

Both Paul Haggis (Crash) and Ang Lee (Brokeback) were nominated in the directing category. Although it doesn't always happen, the norm is for the winner of this category will signal that the film they directed will win Best Picture. The opposite happened in 2005 (77th) when Martin Scorsese was nominated for directing THE AVIATOR. Almost everyone reasoned that since Scorsese had never won an Oscar for directing, this would be his year as THE AVIATOR was favored to win Best Picture. However, the award went to Clint Eastwood for directing MILLION DOLLAR BABY, while THE AVIATOR won Best Picture oF 2004. I never expected it to happen two years in a row. When Ang Lee's name was announced as Best Director of 2005, I thought, "BROKEBACK is going to take the top honor, and I'll have egg on my face for predicting a win for CRASH."

Jack Nicholson handled the top award announcement perfectly. His expression was priceless as he announced, "And the Oscar goes to . . . CRASH." This in a year when the box office continued to sink, Oscar's projected TV ratings were considered precarious, provocative independent films dominated over big studio movies for Oscar recognition and, now, a small-budgeted ensemble drama from outside Hollywood had the audacity to take first prize. I was thrilled, and there is no egg on my face for going out on a limb while many others followed the pack!

IT'S SHOWTIME!

Well, it's time to go get dressed for the Oscar® Party tonight. Hope you are ready! Have a wonderful time, and come back tomorrow evening, read my "chewing" of the results, and put in your two cents worth.

GOOD NIGHT, and GOOD LUCK!

HOW TO PICK THE BEST FILM WINNER (maybe)

There is a way to discover the Academy's possible Best Film choice early in the Oscar® telecast, and I find this method about 90% effective. Well, one must allow for an occasional "zinger." It will help to impress your fellow viewers, if you announce your choice about two and one-half into the broadcast. Here's how it works:

Early in the awards, one can predict the winner by keeping a tally of which of the five movies nominated for the Best Picture Oscar actually win in the following categories: Best Actor, Actress, Screenplay, and Directing. It also helps if a major film wins for Cinematography and/or Editing, with Original Score a plus. Actually, any Guild award counts, so count them. Of course, not every film nominated is also nominated in the "also helps" categories. Therefore, a film not among the top five might win one of those, possibly crashing the theory. The trick is to know in which categories each of the top five films appear, and count only those wins for the top films.

To get a list of all movie nominees, and each category for which it is nominated, go to the Official Oscar Site and print the list. HINT: For the alphabetical listing of films and each of their nominations only, print pages 9 - 13, or print all (14 pages) for the whole enchilada.

Now, have you downloaded and printed your ballot yet? I repeat again, you will find one at IMDB (pdf).

GOOD FUN, and GOOD LUCK!

ACTORS, ACTRESSES, AND COATTAIL AWARDS

Best Actor and Actress - Hoffman and Huffman

PHILIP SEYMOUR HOFFMAN (Capote) has won almost every major Best Actor Award this season, including best actor Golden Globe in the drama category. His portrayal of the late author Truman Capote is exceptional and uncanny, to say the least, and this one is probably a done deal.

That is not to discount HEATH LEDGER (Brokeback Mountain), who could win on the coattails of the movie because it is being touted as the sure best film winner. JOAQUIN PHOENIX (Walk the Line) is the popular choice, having won the Golden Globe in the musical/comedy category, and Walk the Line has done well at the box office, having topped one million.

TERRENCE HOWARD is nominated for Hustle & Flow, instead of Crash, and that may weaken his chance. DAVID STRAHAIRN (Good Night, and Good Luck) gives a perfectly understated performance as Edward R. Murrow, the newsman who quietly and deliberately countered the mass hysteria surrounding the McCarthy-led, "commie witch hunt in the 1950s." The problem for STRAHAIRN is, "Who really remembers Murrow fifty years later?" The problem for WILLIAM HURT (A History of Violence), is that the title of the film may hurt his chances (no pun intended).

FELICITY HUFFMAN (Transamerica) has also won some important awards in this category, including the Golden Globe in drama, and she has the highest female "likeability" quotient among Academy members. Of course, there are some heavyweights running strongly, chief among them REESE WITHERSPOON (Walk the Line), winner of the Golden Globe in musical and/or comedy, is a popular choice. KEIRA KNIGHTLEY (Pride & Prejudice), would win hands-down if beauty were the only requirement for wining. Both DAME JUDIE DENCH (Mrs. Henderson Presents) and CHARLIZE THERON (North Country) are certified heavyweights. However, I don't think this is the year, or the movie vehicle, that will allow either to win. Neither film has made any kind of a showing at the box office."

Best Supporting Actor and Actress - This category is always a crap shoot, because there are so many variables, but I'm going with CLOONEY and WEIZ.

There are three actors who stand the best chance of winning the best performance by an actor in a supporting role. The leader of the pack is GEORGE CLOONEY (Syriana), also nominated for best director and producer of Good Night, and Good Luck; and he won the Golden Globe in the best-supporting category. Of all the actors, CLOONEY has the highest male "likeability" quotient among the Academy members.

However like Heath Ledger, JAKE GYLLENHAAL, (Brokeback Mountain) might benefit from the coattail effect. Both PAUL GIAMATTI (Cinderella Man), and MATT DILLON (Crash) certainly give strong performances, and both have won at least two prior major awards. Either one could squeak through if the vote is split, as often happens with this category.

RACHEL WEISZ (Constant Gardener) won the Golden Globe in this category, and seems to be a front runner. According to the buzz I hear and read, the film is well liked and so is WEISZ. Both she, and another not-too-well-known, AMY ADAMS (Junebug) are strong contenders. The same is probably true for FRANCES McDORMAND (North Country) as it is for Charlize Theron, this is not the year or the movie to make McDORMAND a winner.

MICHELLE WILLIAMS (Brokeback Mountain) has that coattail effect going for her. Either she, or CATHERINE KEENER (Capote), could win if the vote is split, which also happens fairly often in this category.

THE OSCARS® AND POLITICS

In the last official briefing on Friday before the big show, Oscar® producer Gil Cates, director Lou Horvitz, and Academy president Sid Ganis promised no political uproar. Though host Jon Stewart is known for his political comedy on "The Daily Show," and many of the nominated films have political themes, the Academy Awards® show isn't about politics, it's about "rewarding excellence" and reflecting the times, Cates said. Yet, if any Oscar winners want to make political statements during their acceptance speeches, that's fine. "It's their 40 seconds," he said.

The Oscar crew is prepared for anything Sunday, Horvitz said, even a rumored streaker. "If it's going to happen on the stage, we're going to cover it the appropriate way," he said.

Cates said there would be no limit on gay cowboy jokes, for or against. However, Ganis joked: "It's a three-and-a-half hour show, so 167 is the quota."

Pardon me, gentlemen, politics will be there big time, because a number of movies that will shine at the Academy Awards tonight are there by design. Who designed them? Social Entrepreneurs. Who are the social entrepreneurs? Well, in the movie business the chief among them is Jeff Skoll, along with his friend George Clooney, and others. A Social Entrepreneur is society's change engineer, a pioneer of innovation that benefits society.

Who is Jeff Skoll? He founded that little company selling all kinds of things on the Internet, called eBay. After he built it into a gigantic enterprise, he sold it for billions. Now his goal is to use movies to help change the world for the better by curing social ills, and God knows there are plenty of those to keep all the Social Entrepreneurs hopping.

First, he establish a non-profit, The Skoll Foundation, and one of his first projects was to make a deal with Warner Brothers to dub the movie GANDHI into Arabic. Skoll was shocked when he learned the film had never been dubbed into Arabic, and Palestinians had never seen the 1982 movie that won 9 Academy Awards, including best picture. He loves the film, and he believed Gandhi's message of non-violence was one the Palestinians should hear.

"The Gandhi Project" began in April 2005 when the movie premiered at the Cultural Palace in Ramallah. It has been shown in Jerusalem, Bethlehem, Hebron, and on the wall at the Qalandia checkpoint that marks the border between the Palestinian Territories and Israel.

Meanwhile, Skoll formed a production company, Participant Productions, to make new films that he believes will change the world for the better, one story at a time. The mission: "Participant believes in the power of media to create great social change. Our goal is to deliver compelling entertainment that will inspire audiences to get involved in the issues that affect us all."

And what does all this have to do with the 78th Academy Awards®? Three of Participant's films are nominated this year, including one for best picture, GOOD NIGHT and GOOD LUCK. The others are SYRIANA and NORTH COUNTRY, making a total of 11 nominations in all.

No politics at the Oscars? Hogwash!

ARE ACADEMY MEMBERS OUT OF TOUCH?

With ratings slipping every year for the Oscar® telecast, some think the members of the Academy are particularly anxious this year because of the preponderance of low-budget, under-viewed movies in the running. More than 55 million people watched the TITANIC win the Oscar in 1998. Compare that with just over 42 million viewing THE AVIATOR win last year.

This year, BROKEBACK MOUNTAIN, a saga of homosexual cowboys, has had a cultural impact - - the endless articles, the jokes, the spoofs - - that even people who haven't seen the film might want to see if it really does win Best Picture. On the other hand, many feel the Academy is out of touch, since the box office receipts for all five nominated movies combined ($229 M) is less than that of Star Wars III (over $380 M). Only the top grosser BROKEBACK ($73 M) broke into the top ten list, and only for one week.

The question a number of reviewers and critics are asking is, "If few people even go to see the nominated movies, why should they watch the Oscars?" Well, many non-industry people watch to gaze at the bling, glitz and glam, scope out the fashions, hear the music, to be generally entertained (jokes by the host, etc.), to see if their favorite star still looks good, or is getting long in the tooth.

Or, perhaps, they will get lucky and see a streaker like the one that shocked David Niven one year, hear a daring political statement like Michael Moore's, someone like Sasheen Littlefeather accept an award for someone like Marlon Brando, or hear a brilliant acceptance speech like the ones Laurence Olivier used to make. Of course, they could be watching simply to see if one of those almost dresses will finally fall down on the stage. There are many reason people watch, and there is much more to the Academy Awards than the movies themselves.

In the main, grownups watch the Oscar telecast. The nominated movies this year are for grownups. They deal with reality, but an exotic reality that the average working stiff wouldn't dare enter. They can, however, go to the movies, or rent the DVD, and for two hours be a wicked voyeur, legally.

These movies are all low budget (under 10M), and BROKEBACK because of its homosexual cowboy theme has been hyped the most. CRASH, with its "Can't we all get along in this California melting pot" theme has received the least attention. The others are in between.

The main purpose of instituting the Academy Awards®, besides honoring the industry's own, was to bring attention to the movies and increase the box office take. Well, grownup movies have been steamrolled by the big-budget movies aimed at the younger set, and Hollywood has fed them Pabulum with whiz-bang computer generated effects long enough. Perhaps, this year's nominate movies - - all of them - - will help the still-kids grow up, and the eyes of the adults open wide.

No, the members of the Academy are not out of touch. The majority of Amricans seem to be swimming in a noisy sea of cognitive dissonance, being driven to distraction, and the constant noise is too loud for them to hear, or see, what is really happening around them. Thank goodness for this year's producers and directors who are trying to change the cinematic course for the industry and the American People. More about this in my next post.

Now, if only the Academy Awards telecast will do what the Oscars were originally designed to do, entice the viewers to the theaters, or to at least rent/buy the DVDs. All the films receiving nominations in any category this year are worth seeing.