Gone Baby Gone, back again. On dvd.

I can cite a few Oscar tragedies in recent years, but for this writers money, none beats the atrocity committed this year as Gone, Baby Gone is absolutely shunned in 4 out of 5 catergories that truly count.

The lone nomination this year is Amy Ryan in the Best Supporting Actress group. While she's not a lock on the gold, I give her a 80% chance of standing at the podium. Scroll down three articles and take a look at her competition in the category. Go ahead, I'll wait.

Her real competition to my mind is Cate Blanchett portraying Bob Dylan. First, the Academy loves that kind of portrayal and second, who doesn't love Cate Blanchett. But the Academy truly loves drug addled moms, and this one is a humdinger. Yeah, that's right, humdinger.

My question to the Academy: Did you actually watch Atonement? Did you just see that it was a period piece and throw it on the list? What about Michael Clayton? Are you that much in love with George Clooney that you can no longer see through the sculpted hair?

I'm just a lowly reviewer, deserving of little respect as it's not even my job. Just a passion. I dare you to watch those three movies and not be moved more by Gone, Baby Gone. Gut-wrenched in fact, as the story plays out on the screen. Will Atonement move you? Sure. But not like this. Michael Clayton? Perhaps, after you figure the plot out.

It's a damn crime that Casey Affleck isn't nominated for a Best Actor award. The field is crowded this year with well known names and in fairness, I haven't seen all the movies. So they find a way to make it up to him with the Supporting Actor nom in "The Assasination of Jesse James by the Coward Robert Ford." Which is fine, but doesn't do him justice.

If Ben Affleck is still in the hole with the Hollywood bodies who "count", then he is being done a cruel injustice. Sure he was tabloid fodder and cranked out a couple of horrendous examples of acting in the last few years, but that has no bearing on his directing skills. This man made a remarkable movie. As far as grit goes, this movie ranks up there with an Eastwood directed film. Not that he is "Clint-like", but the dirt is there. The feeling of a true society. You believe the world. It's hard to knock someone off the directing list, but I'd have left Tony Gilroy off the list and let Michael Clayton age on the shelf a bit.

To sum up, "Gone, Baby Gone" was screwed in the following categories:

Best Picture

Best Actor

Best Director

Best Adapted Screenplay

My point? The film is being released on dvd today, Tuesday, February 12. If you missed it in the theater, don't hesitate to pick it up this weekend.

To read my reviews click the following links:

Gone, Baby Gone: http://skiptheconsessions.blogspot.com/2007/11/gone-baby-gone-but-i-may-be-coming-back.html

Michael Clayton: http://skiptheconsessions.blogspot.com/2007/12/michael-clayton-or-is-that-just-really.html

Atonement: http://skiptheconsessions.blogspot.com/2007/12/atonementive-got-nothing-funny-here.html

Oh, and Atonement, you want to talk about a good period piece? Don't even get me started on 3:10 to Yuma. http://skiptheconsessions.blogspot.com/2007/09/go-west-young-man-catch-310-to-yuma.html

I'm just saying.

Elijah

Roy, I hope you're sailing on a bigger boat now...

Acting great Roy Scheider passed over the weekend, he is remembered in the following A.P. article:

Roy Scheider, a two-time Oscar nominee best known for his role as a police chief in the blockbuster movie “Jaws,” died Sunday. He was 75.

Scheider died at the University of Arkansas for Medical Sciences hospital in Little Rock, hospital spokesman David Robinson said. The hospital did not release a cause of death.

However, hospital spokeswoman Leslie Taylor said Scheider had been treated for multiple myeloma at the hospital’s Myeloma Institute for Research and Therapy for the past two years.

He was nominated for a best-supporting actor Oscar in 1971’s “The French Connection” in which he played the police partner of Oscar winner Gene Hackman and for best-actor for 1979’s “All That Jazz,” the autobiographical Bob Fosse film.

However, he was best known for his role in Steven Spielberg’s 1975 film, “Jaws,” the enduring classic about a killer shark terrorizing beachgoers and well as millions of moviegoers.

Widely hailed as the film that launched the era of the Hollywood blockbuster, it was also the first movie to earn $100 million at the box office. Scheider starred with Richard Dreyfuss, who played an oceanographer.

“He was a wonderful guy. He was what I call ’a knockaround actor,”’ Dreyfuss told The Associated Press on Sunday.

“A ’knockaround actor’ to me is a compliment that means a professional that lives the life of a professional actor and doesn’t’ yell and scream at the fates and does his job and does it as well as he can,” he said.

In 2005, one of Scheider’s most famous lines in the movie — “You’re gonna need a bigger boat” — was voted No. 35 on the American Film Institute’s list of best quotes from U.S. movies.

That year, some 30 years after “Jaws” premiered, hundreds of movie buffs flocked to Martha’s Vineyard, off the southeastern coast of Massachusetts, to celebrate the great white shark.

The island’s JawsFest ’05 also brought back some of the cast and crew, including screenwriter Carl Gottlieb and Peter Benchley, who wrote the novel that inspired Spielberg’s classic. Spielberg, Scheider and Dreyfuss were absent.

Dreyfuss recalled Sunday a time during the filming of ’Jaws’ when Scheider disappeared from the set. As the filming was on hold because of the weather, Scheider “called me up and said, ’You don’t know where I am if they call.’

“He’d gone to get a tan. He was really very tan-addicted. That was due to a childhood affliction where he was in bed for a long time. For him being tan was being healthy,” Dreyfuss said.

He added that Scheider “was a pretty civilized human being — you can’t ask for much more than that.”

I recently caught JAWS on cable just last week; say what you will about clothing and hairstyles, that movie still holds up to this day.

Also, if I can get my wife to stop throwing the children's toys at me, I'm going to keep rewinding the boat scene until my dvr and/or my dvd starts smoking.

Elijah

River Phoenix all over again...

TMZ has learned that 2006 Academy Award nominee Heath Ledger has died in NY.

He was found dead in his bed in one of his residences in Soho by his housekeeper at 3:35 PM ET today. Law enforcement sources tell TMZ they believe it was not a crime, adding prescription pills were found near his body.

The 28-year-old actor has a two year old daughter with former fiancee Michelle Williams -- they separated in September, 2007.

He plays The Joker in the upcoming Batman film, "The Dark Knight."

According to NYPD a masseuse arrived at Ledger's apartment and was let in by a housekeeper. When Ledger didn't answer his bedroom door, the housekeeper and the masseuse opened it and found him unconscious. They attempted to wake him; when they couldn't, they called 911.

We're told when paramedics responded, the actor was in full cardiac arrest. They attempted to perform CPR on him, but were unsuccessful. He was pronounced dead at the scene.

Ledger may be best known for his groundbreaking role as Ennis in "Brokeback Mountain".

The above was taken from TMZ.com, let me just say, who among you doesn't stop to watch "10 Things I Hate About You" every time it's on cable.

E

Whether it happens or not, here are your nominations:

We will take a deeper look at these catergories and individuals in a little while. Until then, here is your preliminary look at the nominees:

Performance by an actor in a leading role

George Clooney in “Michael Clayton” (Warner Bros.)

Daniel Day-Lewis in “There Will Be Blood” (Paramount Vantage and Miramax)

Johnny Depp in “Sweeney Todd The Demon Barber of Fleet Street” (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)

Tommy Lee Jones in “In the Valley of Elah” (Warner Independent)

Viggo Mortensen in “Eastern Promises” (Focus Features)

Performance by an actor in a supporting role

Casey Affleck in “The Assassination of Jesse James by the Coward Robert Ford” (Warner Bros.)

Javier Bardem in “No Country for Old Men” (Miramax and Paramount Vantage)

Philip Seymour Hoffman in “Charlie Wilson’s War” (Universal)

Hal Holbrook in “Into the Wild” (Paramount Vantage and River Road Entertainment)

Tom Wilkinson in “Michael Clayton” (Warner Bros.)

Performance by an actress in a leading role

Cate Blanchett in “Elizabeth: The Golden Age” (Universal)

Julie Christie in “Away from Her” (Lionsgate)

Marion Cotillard in “La Vie en Rose” (Picturehouse)

Laura Linney in “The Savages” (Fox Searchlight)

Ellen Page in “Juno” (Fox Searchlight)

Performance by an actress in a supporting role

Cate Blanchett in “I’m Not There” (The Weinstein Company)

Ruby Dee in “American Gangster” (Universal)

Saoirse Ronan in “Atonement” (Focus Features)

Amy Ryan in “Gone Baby Gone” (Miramax)

Tilda Swinton in “Michael Clayton” (Warner Bros.)

Best animated feature film of the year

“Persepolis” (Sony Pictures Classics) Marjane Satrapi and Vincent Paronnaud

“Ratatouille” (Walt Disney) Brad Bird

“Surf's Up” (Sony Pictures Releasing) Ash Brannon and Chris Buck

Achievement in art direction

“American Gangster” (Universal)Art Direction: Arthur MaxSet Decoration: Beth A. Rubino

“Atonement” (Focus Features)Art Direction: Sarah GreenwoodSet Decoration: Katie Spencer

“The Golden Compass” (New Line in association with Ingenious Film Partners)Art Direction: Dennis GassnerSet Decoration: Anna Pinnock

“Sweeney Todd The Demon Barber of Fleet Street” (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount)Art Direction: Dante FerrettiSet Decoration: Francesca Lo Schiavo

“There Will Be Blood” (Paramount Vantage and Miramax)Art Direction: Jack FiskSet Decoration: Jim Erickson

Achievement in cinematography

“The Assassination of Jesse James by the Coward Robert Ford” (Warner Bros.) Roger Deakins

“Atonement” (Focus Features) Seamus McGarvey

“The Diving Bell and the Butterfly” (Miramax/Pathé Renn) Janusz Kaminski

“No Country for Old Men” (Miramax and Paramount Vantage) Roger Deakins

“There Will Be Blood” (Paramount Vantage and Miramax) Robert Elswit

Achievement in costume design

“Across the Universe” (Sony Pictures Releasing) Albert Wolsky

“Atonement” (Focus Features) Jacqueline Durran

“Elizabeth: The Golden Age” (Universal) Alexandra Byrne

“La Vie en Rose” (Picturehouse) Marit Allen

“Sweeney Todd The Demon Barber of Fleet Street” (DreamWorks and Warner Bros., Distributed by DreamWorks/Paramount) Colleen Atwood

Achievement in directing

“The Diving Bell and the Butterfly” (Miramax/Pathé Renn) Julian Schnabel

“Juno” (Fox Searchlight) Jason Reitman

“Michael Clayton” (Warner Bros.) Tony Gilroy

“No Country for Old Men” (Miramax and Paramount Vantage) Joel Coen and Ethan Coen

“There Will Be Blood” (Paramount Vantage and Miramax) Paul Thomas Anderson

Best documentary feature

“No End in Sight” (Magnolia Pictures)A Representational Pictures ProductionCharles Ferguson and Audrey Marrs

“Operation Homecoming: Writing the Wartime Experience” (The Documentary Group)A Documentary Group Production Richard E. Robbins

“Sicko” (Lionsgate and The Weinstein Company)A Dog Eat Dog Films ProductionMichael Moore and Meghan O’Hara

“Taxi to the Dark Side” (THINKFilm)An X-Ray ProductionAlex Gibney and Eva Orner

“War/Dance” (THINKFilm)A Shine Global and Fine Films ProductionAndrea Nix Fine and Sean Fine

Best documentary short subject

“Freeheld”A Lieutenant Films ProductionCynthia Wade and Vanessa Roth

“La Corona (The Crown)”A Runaway Films and Vega Films ProductionAmanda Micheli and Isabel Vega

“Salim Baba”A Ropa Vieja Films and Paradox Smoke ProductionTim Sternberg and Francisco Bello

“Sari’s Mother” (Cinema Guild)A Daylight Factory ProductionJames Longley

Achievement in film editing

“The Bourne Ultimatum” (Universal) Christopher Rouse

“The Diving Bell and the Butterfly” (Miramax/Pathé Renn) Juliette Welfling

“Into the Wild” (Paramount Vantage and River Road Entertainment) Jay Cassidy

“No Country for Old Men” (Miramax and Paramount Vantage) Roderick Jaynes

“There Will Be Blood” (Paramount Vantage and Miramax) Dylan Tichenor

Best foreign language film of the year

“Beaufort” A Metro Communications, Movie Plus ProductionIsrael

“The Counterfeiters” An Aichholzer Filmproduktion, Magnolia Filmproduktion ProductionAustria

“Katyń” An Akson Studio Production Poland

“Mongol” A Eurasia Film ProductionKazakhstan

“12” A Three T ProductionRussia

Achievement in makeup

“La Vie en Rose” (Picturehouse) Didier Lavergne and Jan Archibald

“Norbit” (DreamWorks, Distributed by Paramount) Rick Baker and Kazuhiro Tsuji

“Pirates of the Caribbean: At World’s End” (Walt Disney) Ve Neill and Martin Samuel

Achievement in music written for motion pictures (Original score)

“Atonement” (Focus Features) Dario Marianelli

“The Kite Runner” (DreamWorks, Sidney Kimmel Entertainment and Participant Productions, Distributed by Paramount Classics) Alberto Iglesias

“Michael Clayton” (Warner Bros.) James Newton Howard

“Ratatouille” (Walt Disney) Michael Giacchino

“3:10 to Yuma” (Lionsgate) Marco Beltrami

Achievement in music written for motion pictures (Original song)

“Falling Slowly” from “Once”(Fox Searchlight)Music and Lyric by Glen Hansard and Marketa Irglova

“Happy Working Song” from “Enchanted”(Walt Disney) Music by Alan MenkenLyric by Stephen Schwartz

“Raise It Up” from “August Rush”(Warner Bros.)Nominees to be determined

“So Close” from “Enchanted”(Walt Disney)Music by Alan MenkenLyric by Stephen Schwartz

“That’s How You Know” from “Enchanted”(Walt Disney)Music by Alan MenkenLyric by Stephen Schwartz

Best motion picture of the year

“Atonement” (Focus Features) A Working Title Production Tim Bevan, Eric Fellner and Paul Webster, Producers

“Juno” (Fox Searchlight)A Dancing Elk Pictures, LLC ProductionLianne Halfon, Mason Novick and Russell Smith, Producers

“Michael Clayton” (Warner Bros.)A Clayton Productions, LLC ProductionSydney Pollack, Jennifer Fox and Kerry Orent, Producers

“No Country for Old Men” (Miramax and Paramount Vantage)A Scott Rudin/Mike Zoss ProductionScott Rudin, Ethan Coen and Joel Coen, Producers

“There Will Be Blood” (Paramount Vantage and Miramax)A JoAnne Sellar/Ghoulardi Film Company ProductionJoAnne Sellar, Paul Thomas Anderson and Daniel Lupi, Producers

Best animated short film

“I Met the Walrus” A Kids & Explosions Production Josh Raskin

“Madame Tutli-Putli” (National Film Board of Canada)A National Film Board of Canada ProductionChris Lavis and Maciek Szczerbowski

“Même Les Pigeons Vont au Paradis (Even Pigeons Go to Heaven)” (Premium Films)A BUF Compagnie ProductionSamuel Tourneux and Simon Vanesse

“My Love (Moya Lyubov)” (Channel One Russia)A Dago-Film Studio, Channel One Russia and Dentsu Tec ProductionAlexander Petrov

“Peter & the Wolf” (BreakThru Films)A BreakThru Films/Se-ma-for Studios ProductionSuzie Templeton and Hugh Welchman

Best live action short film

“At Night”A Zentropa Entertainments 10 ProductionChristian E. Christiansen and Louise Vesth

“Il Supplente (The Substitute)” (Sky Cinema Italia)A Frame by Frame Italia ProductionAndrea Jublin

“Le Mozart des Pickpockets (The Mozart of Pickpockets)” (Premium Films)A Karé Production Philippe Pollet-Villard

“Tanghi Argentini” (Premium Films)An Another Dimension of an Idea ProductionGuido Thys and Anja Daelemans

“The Tonto Woman” A Knucklehead, Little Mo and Rose Hackney Barber ProductionDaniel Barber and Matthew Brown

Achievement in sound editing

“The Bourne Ultimatum” (Universal)Karen Baker Landers and Per Hallberg

“No Country for Old Men” (Miramax and Paramount Vantage)Skip Lievsay

“Ratatouille” (Walt Disney) Randy Thom and Michael Silvers

“There Will Be Blood” (Paramount Vantage and Miramax)Matthew Wood

“Transformers” (DreamWorks and Paramount in association with Hasbro)Ethan Van der Ryn and Mike Hopkins

Achievement in sound mixing

“The Bourne Ultimatum” (Universal)Scott Millan, David Parker and Kirk Francis

“No Country for Old Men” (Miramax and Paramount Vantage)Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland

“Ratatouille” (Walt Disney)Randy Thom, Michael Semanick and Doc Kane

“3:10 to Yuma” (Lionsgate)Paul Massey, David Giammarco and Jim Stuebe

“Transformers” (DreamWorks and Paramount in association with Hasbro) Kevin O’Connell, Greg P. Russell and Peter J. Devlin

Achievement in visual effects

“The Golden Compass” (New Line in association with Ingenious Film Partners)Michael Fink, Bill Westenhofer, Ben Morris and Trevor Wood

“Pirates of the Caribbean: At World’s End” (Walt Disney)John Knoll, Hal Hickel, Charles Gibson and John Frazier

“Transformers” (DreamWorks and Paramount in association with Hasbro)Scott Farrar, Scott Benza, Russell Earl and John Frazier

Adapted screenplay

“Atonement” (Focus Features)Screenplay by Christopher Hampton

“Away from Her” (Lionsgate)Written by Sarah Polley

“The Diving Bell and the Butterfly” (Miramax/Pathé Renn)Screenplay by Ronald Harwood

“No Country for Old Men” (Miramax and Paramount Vantage)Written for the screen by Joel Coen & Ethan Coen

“There Will Be Blood” (Paramount Vantage and Miramax)Written for the screen by Paul Thomas Anderson

Original screenplay

“Juno” (Fox Searchlight)Written by Diablo Cody

“Lars and the Real Girl” (MGM) Written by Nancy Oliver

“Michael Clayton” (Warner Bros.)Written by Tony Gilroy

“Ratatouille” (Walt Disney)Screenplay by Brad BirdStory by Jan Pinkava, Jim Capobianco, Brad Bird

“The Savages” (Fox Searchlight) Written by Tamara Jenkins

Atonement...I've got nothing funny here.

Just a quick overview of Atonement: Fledgling writer Briony Tallis, as a 13-year-old, irrevocably changes the course of several lives when she accuses her older sister's lover of a crime he did not commit.

Think you've got the movie in a nutshell now? Yes and no. Special warning: In this review I may give too much up. I'm sorry, this time it can't be helped. I will dutifully stay away from the ending and any major points.

This film has garnered seven Golden Globe Nominations. 7. With a capital S, friends. Now, before you become amazed at that number let us remember that the Golden Globe awards are governed by the Hollywood Foreign Press. What am I saying? Let's save that for the final paragraph.

For Atonement we have director Joe Wright teaming up again with Keira Knightley for their second period piece. Just a few years ago this duo gave us the latest version of Pride and Prejudice, which for my money is the best version to date. Personally, I think Wright should have been nominated for a Best Director Oscar in 2005.

In this newest offering we tackle the issues of class, money, jealousy, love, lust, rape, morality...I could keep going but this is only a short column. This movie has all these things in spades, there is no subtlety anywhere; the emotions are on the surface. There is no denying anything, the director wants you to feel everything. He wants you to feel the selfishness and petty jealousy of youth. Feel the lust and desperate craving of blooming adulthood, separated by generations of social class. Feel the crush of broken dreams, broken hearts...hope.

But, it's not enough.

We are bombarded with all this emotion, we get layers upon layers of setup. Then, just as we are getting to the meat of the story, the emotion melts away. We are left with interludes. The layers disappear. Now each character has one purpose that drives them, it's the means to an ending. Some may say, "That's just right, that's just what you are supposed see and feel." Fine. But I felt that it wasn't enough. I wanted each of them to show me more suffering, more despair. More adversity to be overcome, instead of just going through the motions.

I just needed more substance. Now, to the performances:

I find no fault with any body of work from the actors and Keira Knightley is once again poised to get an Academy nomination. I don't feel like she stretched to do much in this movie, it was all well within her grasp, but it didn't disappoint in any way. Her snobbery knows no bounds and the collapse of her wall was well acted. Much like her brilliant performance in Pride and Prejudice, but just shy of that level overall. When we reach the second half of the film, I feel like we lose her. This is what I was pointing to previously. In turning from her disapproving and accusing family to pine for her lost love, she just goes through the motions. Is this what the writers and directors want? Possibly, for the audience to feel the solitude and forlorn, but why must the story suffer for it? In my humble opinion, it does suffer.

Well. James McAvoy certainly has a nice healthy string of movies going his way recently. It's easy to see why. Click on his name back there to see his IMDB.com page. His Robbie Turner in this film is a spectacular role for him, with great range. Bold and assertive, despite being the son of the hired help. Perhaps needing to be put in his place, but knowing when to find that place. Accepted on some level, but just shy of real "class". With a bright future supplied by the head of the house as benefactor, you get the impression that perhaps he has overstepped slightly. Which makes it all the worse as it is pulled from his grasp by a misunderstanding and jealous 13 year old girl. You feel his life slip away as he is taken from his future; His own boldness partly responsible. James McAvoy deserves his forthcoming nomination. Robbie Turner's story does not. Because, as we see him released on condition of serving in the war, we lose the fight. We see a man trudging across France to rejoin his lost love. The problem remains; walking through the motions. I miss the adversity that was shown us in Saving Private Ryan. We see a man walking back to his love, we don't see what it takes to get there.

Finally the part of Briony, portrayed by three separate actresses. Saoirse Ronan plays age 13, Romola Garai age 18 and Vanessa Redgrave the elder Briony. This is the one character that on every level is perfection. All the way through we see how this girl suffers from her mistake. This one facet is completely fleshed out. Nothing is left behind and we have this one example of what the rest should have been. In reality, the story isn't about two lovers as we have been led to believe but rather this one little girl. The movie is titled Atonement. Here is your story. Not the above trappings. Follow her story, feel her pain; though she doesn't want your pity. Saoirse has been nominated for a supporting actress golden globe. She deserves it. Vanessa Redgrave is wonderful in her few moments on screen. We see too little of Ms. Redgrave these days.

As a final parting shot, take heed of the "R" rating on this one. The gore is not as plentiful as was in Saving Private Ryan, but it is as shocking. Also be warned that a certain word, the worst thing a woman can be called, is used. Insanely used. In 10 foot letters across the screen. You are warned.

Deserving special mention is this: pay special attention to the scene on the beach at Dunkirk. This is done in one nonstop, 5 1/2 minute tracking shot. Absolutely stunning, imagine what it must have taken to plan and master this long shot with a thousand extras, on sand, and the choreography of it all. I'm just saying.

When I sat down to write this I was determined to give it a mid-range score. I've talked myself into giving it 3.25 four letter words out of 5 four letter words. On a good day I might throw on another half point. It's not a bad movie, it's a good movie and the ending is worth catching a weekend matinee showing. The problem is, I just don't think it's heads above anything else out there right now. As for the 7 Golden Globe nominations, it's the Hollywood Foreign Press and this is the only foreign film showing in big release right now.

I'm just saying.

Elijah

Lars and the Real Girl. Sure, but can she hold a conversation?

How do you write a review about a man in love with a sex doll? I guess you start with the description of Lars and the Real Girl: Lars Lindstrom an awkwardly shy young man in a small northern town who finally brings home the girl of his dreams to his brother and sister-in-law's home. The only problem is that she's not real.

When I sit down and think about this movie, I want to say that it has almost has a "Rain Man" quality to it as films go. But that is a disservice. Lars is no Raymond Babbit. In fact, he is a fully functioning person. He's just suffering extreme emotional and social problems that keep him leading a lonely and solitary life until one fateful day at work leads him to make a unique decision.

Think of a family trying to make the mental and physical adjustments to a situation like this. Take a second. Now think of a small town; a town where everyone knows each other and some may have some backwards views on something like this. The upshot of this movie is that there are some heart-warming moments. And a few heart-breaking ones.

Ryan Gosling turns in another Oscar worthy performance as Lars, the man who met his visiting "friend" on the Internet and invited her to visit him. The man who eventually falls in love with a sex doll, but respects his own, and "her" religious beliefs to ask his brother and sister-in-law to use their extra room for "Bianca". This is where the whole plot takes off. I'll be honest when I say that I don't usually see Goslings films, the subject matter generally not catering to my tastes. I had to see this movie though. I just love offbeat stuff and this doesn't disappoint. Neither does Gosling. I laughed when I was supposed to and believe me when I say they give you the opportunities. I felt pain for Lars when it was called for, and there is plenty of opportunity for that as well. The thing is, Gosling as Lars helps you believe that "Bianca" is truly a real person to him.

Paul Schneider plays Gus Lindstrom, the brother that charges himself with looking after and worrying about Lars. As Gus begins freaking out we don't know if it's concern for Lars or his concern for what people will think of this development. It's hard to do anything but laugh at Gus in the beginning, but as the film goes on I started to feel a bit sad at his reactions to the adjustments the family has to make. Bottom line is, I felt that I probably would have reacted in a lot of the same manners, and that just lends credibility to the movie.

Emily Mortimer shines in this movie as the pregnant sister-in-law that really tries. Tries to immediately incorporate this predicament and make the best out of the situation. You feel the love this woman has for her family, and the lengths she will go to in order to protect everyone. You wonder how long this woman can endure, with this stress filled time and the impending birth of a child. Will she break, can she keep the family together?

Patricia Clarkson turns in a great performance as the doctor who tries to get to the bottom of this situation and convinces all involved (including the entire town) to go along with this in order to prevent a real psychological break.

This decision actually provides the meat of the story as we witness the town come together and support this outrageous situation. You'll laugh and feel incredibly uncomfortable at the same time as every member of this town interacts with Bianca. From the church services to holiday parties, this doesn't get anymore bizarre. At the same time, you love it.

Just for more spice, throw in a young blond played by Kelli Garner who, for inexplicable reason is drawn to Lars. I don't know if I really fell for this storyline, but it adds more heart and certain complications that make for good story, so I'll take it.

For the second review in a row I give Lars and the Real Girl 5 fake flower bouquets out of 5 fake flower bouquets. This movie is Rain Man meets Mayberry and I, for one, love it. It's all heart. It's a quirky drama with enough laughs to keep you going, despite the serious subject. Give Ryan Gosling an Oscar Nomination. He's earned it. Again.

Elijah

Juno - If only little Jamie Lynn could have seen this first.

Yes, that is a baby bump discreetly implanted in the photo. Here's Juno's description: Faced with an unplanned pregnancy, an offbeat young woman makes an unusual decision regarding her unborn child.

I first saw the previews for this movie back in the summer, in front of Superbad. Not a coincidence that the star of that movie would also figure prominently in this one. I immediately put this down on my must see list. Sure the previews told me that this was my kind of funny, but the real draw for me: Ellen Page.

This 20 year old Canadian born actress has done a lot of t.v. that we in the states haven't seen, so she's actually been around awhile. I first saw her a couple of years ago in Hard Candy, a very dark, frightening drama. One that you could actually put alongside Robin Williams' stalker film, One Hour Photo. If you haven't seen Hard Candy, and you have children between 10 and 16 years old, rent this movie. Right away. I had a feeling that Ms. Page would do things after seeing that film, and after watching Juno, I'm convinced that she is the next Christina Ricci. Making good movies that mean something.

Back to our snarky comedy. Sure Juno is about a 16 year old girl who gets pregnant on her first sexual foray, but I'll be damned if this movie doesn't do it with a lot of heart and a lot of laughter. The writing on this movie is fantastic. Not just the plot, the dialogue is first rate. Quick, smart, jabbing, funny. Joss Whedon fans will absolutely appreciate this film. The one knock is that as I watched this film I was reminded that there are no high schoolers anywhere who actually think on this high of a level. At least, I hope not, because if that's true, I am doomed as a father of two girls.

As we follow Juno on her journey to self-discovery, we watch as she struggles with the decisions that we've seen time and time again. Do you keep the child? If not, is abortion an option, or adoption? The thing is, every one of these moments has a quirky twist to it that defines this movie. When faced with a serious subject, it's impossible not to laugh or gape as every scene is infused with poignant moments.

The other thing we see is a supporting cast that absolutely sells this movie. There may be other actors and actresses that could fill these rolls, but we don't need them. The ones we are given are perfect for this movie and I highlight Allison Janney, J.K. Simmons, and Jason Bateman in particular.

Janney and Simmons play the surprised parents in this film and they are perfect for what they are asked to do in this film. Generally, when you see Simmons in a film he is yelling at the top of his lungs or barking orders to someone. This time around you get a quiet man, trying to be supportive, but a bit heart-broken. He is the heart of the movie here, and it's definitely a good thing. Allison Janney is one of those actresses that you know, but don't readily think of. She makes the actors around her better and every award season she makes it to the podium. In this movie she provides the "Hell, Yeah!" moments.

Jennifer Garner and Jason Bateman play the "perfect" couple that may be potential adopters. These two eschew the perfect suburban couple with their cookie cutter house in its' cookie cutter neighborhood. As I said earlier, Bateman is great. He really is good and you feel his thoughts even though he's not saying what is on his mind. He does get a scene that unwittingly provides a creepy feeling. Now, I've read an interview with the woman who wrote this film and she categorically denies that it was intended that way, but believe me when I say that this scene didn't come across as a heart to heart as it was supposed to play out. So take that with you when you see the movie. As for Jennifer Garner, she does her job. I don't have anything bad to say about her. The problem is that I have never warmed up to her. I've never seen her in anything that made me say she's fantastic. I can't pinpoint anything, and I feel bad writing this, but the fact is, she just grates on me. She does help provide a terrific scene, I just wish I didn't feel so blah about her.

Olivia Thirlby plays the best friend, whom you would just want to reach out and slap if you weren't laughing every time she opened her mouth. She's annoyingly funny and the she adds to the film with her just being in it. I look forward to the movie Jack and Diane, where once again, Thirlby and Page will be on screen together.

Finally, Michael Cera. The underused Michael Cera in this film. What he is given is great. He has absolutely mastered the role of intelligent, slightly naive, quiet guys. I just hope he's not pigeon-holed in Hollywood already, but if he is, I'll still watch.

One last note. Jason Reitman directed this film brilliantly, and if you missed his last film, Thank You For Smoking, then add it to your rental list and and pick it up with Hard Candy today.

If you haven't figured it out, I loved this movie. I'm giving it 5 orange tic-tacs out of 5 orange tic-tacs. I believe that's only the second full rating since I started the actual rating system, though I have loved quite a few of my earlier reviewed films. This is one of those films that is only going to play in select theaters, so if you're fortunate to live near one, see the movie. Don't worry though, you won't miss anything by waiting for dvd, just don't forget to add it to your list.

Elijah