Perhaps there will come a year when Oscar realizes that animated films are not lesser animals to be led to awards-season slaughter. In fact, with the Best Picture category expanded to ten films for 2010, I’d be surprised if at least one of the following films is not included, and perhaps even three.

But we’re here to talk about Best Animated Film. And the nominees are (or should be)…

Fantastic Mr. Fox

Up

Coraline

Ponyo

Mary & Max

Avatar

Yes, folks, Avatar is an animated f*$#ing film. Over half of the movie is computer-generated, and the other half feels like it was acted by computer-generated actors. So here it is. I’m hoping including them here inspires some to seek out Mary & Max and Ponyo, they’re worth the trouble.

But the award for Best Animated Film goes to…Fantastic Mr. Fox.

mysonmyson

Some of you, many of you, may be unfamiliar with the work of director Werner Herzog. That is understandable.

Those of you unfamiliar with the work of David Lynch, on the other hand, may excuse yourselves from reading the rest of this review and buy a ticket to see Avatar for the fourth time. Clearly My Son, My Son, What Have Ye Done? is not a movie for you.

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turbo

When I hear the words “student film,” my mind automatically conjures up awkwardly unfunny shorts, poorly-thought-out family dramas and characters with a lot to say, but not much motivation to say it.

What doesn’t come to mind are ass-kicking, effects-heavy, gamer films as polished as anything Hollywood can imagine. But that’s exactly what Turbo delivers.

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zombiegirl

Austin, if you haven’t figured out by now, is a pretty cool place to live. We’ve got great restaurants, Sixth Street, a vibrant arts scene, and not-quite-teenage girls running around shooting their own zombie-horror films.

Wait, what?!?

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Looks like a bad weekend for new movies…

When In Rome

See It If:  You love predictable, by-the-numbers romantic comedies.

Don’t See It If:  You hate Dax Shepard as much as I do.

The Call:  Don’t bother. Seriously. Go see The Young Victoria instead.

Edge of Darkness

See It If:  You have a movie-theater-gift-card expiring on Sunday.

Don’t See It If:  You prefer to think of Mel Gibson as Mad Max.

The Call:  Looks like a potential matinee candidate, but I’ll probably wait for it on cable.

Welcome to the award that’s basically the red-headed stepchild of the script competition, the award for Best Adapted Screenplay.

And the nominees are…

Jesse Armstrong, Simon Blackwell, Armando Iannucci and Tony Roche, In The Loop

Wes Anderson and Noah Baumbach, Fantastic Mr. Fox

Jason Reitman and Sheldon Turner, Up In The Air

Neil Blomkamp and Terri Tatchell, District 9

Scott Cooper, Crazy Heart

Nick Hornby, An Education

Everyone seems to think Up In The Air has this award locked up, and they’re probably right. It’s a wonderful film, perfectly timed to tap into the current state of the country. But I think the playing field should be more level, as all of these films are just as deserving, and in the case of one, even more so.

And the doorstop goes to…Wes Anderson and Noah Baumbach, Fantastic Mr. Fox.

the-young-victoria

What is it that we want the movies to do for us? To take us places we’ve never been? To show us people we could only hope to meet (or hope never to encounter)? It’s an interesting question, and how we answer it often determines the kind of movies to which we respond.

In my case, historical costume dramas set in Victorian England tend not to generate much interest. The consistent lack of explosions, gratuitous nudity and careless gunplay generally places the genre somewhere below the Broadway musical-as-film but just above animated family films that stuff pop-culture references into a sack and throw it kicking and screaming into the river of the past.

At least that was how I felt until I saw The Young Victoria.

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Scripts. You remember what those are, right Oscar? Screenplays are the wonderful creations of talented writers like David Mamet, Alexander Payne, Eric Roth and Ben Affleck. (Okay, that might be an exaggeration.)

To make your life easier, Oscar, here are the six scripts you should nominate for Best Original Screenplay…

Michael H. Weber and Scott Neustadter, (500) Days of Summer

Mark Boal, The Hurt Locker

Quentin Tarantino, Inglorious Basterds

Joel and Ethan Coen, A Serious Man

Scott Moore and Jon Lucas, The Hangover

Pete Docter and Bob Peterson, Up

Yeah, get over it people, there’s a massive hit comedy and an animated film in there. If you haven’t seen these films, warm up your Netflix queue and spend the weekend catching up. From the non-stop intensity of Boal’s The Hurt Locker to Moore and Lucas’ lost Vegas weekend, these are not only the best original screenplays produced in 2009, but they’re great and fun movies.

And the anatomically-incorrect statue goes to…Mark Boal, The Hurt Locker.

basterds

I am not a Tarantino fanboy.

I worshiped Reservoir Dogs, loved Pulp Fiction, really liked Jackie Brown, could take or leave Kill Bill and thought Grindhouse was an interesting experiment in retro-filmmaking. So when I heard about Inglorious Basterds, my response was to be modestly intrigued but coolly indifferent. Then I saw the movie.

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messenger-harrelson-foster-1

Sacrifice, thankfully, is something I generally know very little about. I mean real sacrifice here, not the giving-up-your-place-in-line-at-the-DMV-type sacrifice.

I’ve also had the good fortune to meet and get to know a number of men and women who know quite a bit about sacrifice, the go-to-war-and-leave-part-of-you-there kind of sacrifice. Every day in Iraq and Afghanistan our soldiers are in harm’s way. Some come back. Some come back whole. And some families have the true meaning of sacrifice defined for them, with a knock at the door, and a meeting with The Messenger.

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