Oscar Night

Okay so quick confession – sadly my life has been too full of late to allow me to see ALL the Academy Award nominated films. I have not managed to see There Will Be Blood, which is a shame because it looks to be one of the better offerings this year. However, I will proceed with the other films:

Juno – Fun and thoughtful.

A very original take on teenage pregnancy, this film is more practical than judgemental, advocating specific contemplation rather than resorting to unthinking moral reprehension. The style of this Indie flick makes it easy to warm to, especially because Ellen Page’s quirky performance is so well-judged.

Weird and amusing it is deservedly the only comedy to be nominated for Best Picture this year, but is perhaps too light in content to seriously challenge the more heavyweight contenders.

No Country For Old Men – Brilliant.

Both a satire and a tragedy on the violent culture of modern America that looks at a specific part of the United States, while at the same time commenting on the random aggression and brutality of today’s world in general, as well as the money-fuelling greed that pervades all. There are many levels to this film and many routes through which to approach it, making it something to be watched several times over.

It contains both superb direction and, generally, very good acting, though Tommy Lee Jones mumbles too many of his lines – a shame, because his performance is otherwise remarkable.

Atonement – An artistic achievement rather than a filmic one.

Having just finished the book when I saw this film, it could but disappoint. Though it is mostly very true to the novel, it lacks much of the book’s subtlety and is forced to hurry through the plot. However, these criticisms could be applied to most novels adapted for the screen.

Focussing on Atonement as a film, it is clever, pretty, but rather confusingly put together. Its aesthetic nature is what makes it worth seeing, playing confidently with creativity and attempting interesting ways of portraying the splintered story.

None of the acting is outstanding, and Keira Knightly in particular seems to have trouble connecting with the role. Overall, its lack of competence in a few vital areas relegates it to good, rather than great.

Michael Clayton – Viciously real.

The concept for this offering is one that is constantly revisited and revised in the film industry: the corruption and the intrigue within large companies and firms. Michael Clayton is original in that it focuses more on its characters and their individual emotions and drives, rather than fuelling the story with clever plot twists and adrenaline-pumped action sequences.

Thrust into a world where the economical and legal are everything, the viewer is completely unsure what line the film will take. However, this makes it all the more satisfying when the plot elements begin to emerge and unify into a story that attempts to deal with the true rather than the sensational.

With its slow pace and intricate web, this film can be hard to follow. This is more than made up for by the main actors, who all deliver great performances, particularly Tilda Swinton: she brings her character so fantastically to life, showing both the brutal ambition, as well as the pressure and fear, of a woman in a man’s world, who is forced to condone what she knows, and more importantly feels, to be morally reprehensible.

My Pick: No Country For Old Men. Without a doubt the best of those nominated (except of course There Will Be Blood). It is intelligent, intriguing and interesting, posing questions, making the audience think, and all within a well-crafted narrative.