Here I thought my Oscar nomination predictions were cynical; turns out they weren't nearly cynical enough. I've made it abundantly clear over the past few months that I think The Dark Knight is overrated (great, but half-baked), but I can't imagine the Academy having more deliberately shot itself in the foot. With this, they've practically set themselves back a decade, if not more, in terms of achieving a more well-rounded taste in the eyes of the moviegoing public, from summer blockbuster junkies to critics that fawn over indie titles (both parties I consider myself a proud member of).

Too bad for them, and let it be the decision that invites the scorn they already surely deserve (for the record: much as I like the film, I'm savoring this moment, not only in that it opens an opportunity to put a stake through the heart of the Academy, but also because every asshole fanboy's head just about exploded simultaneously; hopefully more levelheaded fans are taking the news well). Here are my thoughts on today's announcements, and save for my eventual predictions on the winners themselves, let that be the end of it.

Surprises (Good)

• Hellboy II: The Golden Army scoring a nom for makeup, an amazingly tasteful recognition of poetry on the part of the Academy ("I'm not a baby, I'm a tumor"). Shit, who am I kidding - taste is incidental at this point.

Surprises (Bad)

• Sally Hawkins snubbed for Happy-Go-Lucky. Possibly the best performance of the year, this move is inept at best, odious at worst.
• The Reader for Best Picture. Here I was optimistic enough to think that Oscar might see through this shallow brigade of fakey emotions (seriously, once Katey started bawling her eyes out to "The Odyssey", I was done), but now I'm thinking that the fact that Dreamgirls got the boot two years ago was little more than a happy accident. Turns out Oscar still takes it like a whore, complete with a big smile on its face. On the same note is...
  
• ...Kate Winslet nominated for The Reader over Revolutionary Road. At this point, I'm not sure which film I dislike more, but at least Kate manages to salvage some respect in the latter. I'm sorry, but shitty aging makeup, croaky vocal fakery and - spoilers ahead - an exploitatively rendered, off-screen death do not a good performance make.

Disappointments (or: stuff I was actually naive enough to think might've turned out otherwise)

• The Dark Knight and WALL·E snubbed for Best Picture. Oscar had a chance to be a uniter; instead they pulled a George Bush. Get a clue, you nimrods.
• Ron Howard nominated for Best Director, and concurrently, Frost/Nixon for Best Picture. I've yet to see the film (I'm planning a screening tomorrow afternoon before a date with my lovely), but the fact that the former Happy Days star hasn't made a remotely worthwhile film since Apollo 13 doesn't bode well. Once again, how foolish was I to think that Oscar might've learned something lately? Turns out these hacks can still squeeze out a link into the Academy's open and waiting mouth.
• Michelle Williams snubbed for Wendy and Lucy. Maybe not the best performance of the year (though I'll certainly step up to bat for it as such), but certainly my favorite. Subtlety just ain't the Academy's thing, but at least I can sleep well at night knowing that Reichardt didn't sell out her film with an awards-baiting rape scene.

UPDATE: Sorry, I just can't help myself. Jump to the 3 minute mark and watch the most important cinematic confession of the year.

Labels: oscar, oscar 09

Labels: youtube

Labels: blog reviews, screening log

Note: My votes, when different from the ultimate victor, are noted in brackets and italicized.

...and now, the winners.

BEST PICTURE: WALL·E

BEST DIRECTOR: Christopher Nolan (-) The Dark Knight [Andrew Stanton (-) WALL·E]

BEST ACTOR: Mickey Rourke (-) The Wrestler

BEST ACTRESS: Michelle Williams (-) Wendy and Lucy

BEST SUPPORTING ACTOR: Heath Ledger (-) The Dark Knight

BEST SUPPORTING ACTRESS: Marisa Tomei (-) The Wrestler

BEST ORIGINAL SCREENPLAY: Andrew Stanton & Jim Reardon (-) WALL·E [Martin McDonagh (-) In Bruges]

BEST ADAPTED SCREENPLAY: John Ajvide Lindqvist (-) Let the Right One In

BEST CINEMATOGRAPHY: Wally Pfister (-) The Dark Knight [Colin Watkinson (-) The Fall]

BEST EDITING: Chris Dickens (-) Slumdog Millionaire [Elliot Graham (-) Milk]

BEST ORIGINAL SCORE: James Newton Howard & Hans Zimmer (-) The Dark Knight

BEST DOCUMENTARY: Man on Wire [Dear Zachary: A Letter to a Son About His Father]

BEST FOREIGN LANGUAGE FILM: Let the Right One In (Abstained)

BEST ANIMATED FILM: WALL·E

BREAKTHROUGH FILMMAKER: Tomas Alfredson (-) Let the Right One In [Kurt Kuenne (-) Dear Zachary: A Letter to a Son About His Father]

BREAKTHROUGH PERFORMER: Lina Leandersson (-) Let the Right One In

Out of fifteen viable categories, nine of my votes scored victories. Woot. If all of my wishes came true 60% of the time, I'd be ecstatic.

Now, bring on the Academy.

Labels: awards, awards 08

Labels: posters

My goal is to keep awards commentary to a minimum this year, so without further adieu, here are my (unexpectedly cynical) predictions for this week's upcoming nominees. Most of these I consider to be locks, but in filling in the remaining gaps, I found myself gravitating towards what seemed like the most cynically predictable choices Oscar would make any given year, a relative disappointment despite the fact that most of them are actually good in my estimation. Suffice to say that any instance in which I'm wrong (i.e. the complete disinclusion of WALL·E from the major lineup, a snub for Michelle Williams) will find myself incredibly happy to be so.

BEST PICTURE
Will be nominated: The Curious Case of Benjamin Button, The Dark Knight, Gran Torino, Milk, Slumdog Millionaire

Should be nominated: Wendy and Lucy, Rachel Getting Married, Speed Racer, The Curious Case of Benjamin Button, WALL·E

BEST DIRECTOR

Will be nominated: Danny Boyle (Slumdog Millionaire), Clint Eastwood (Gran Torino), David Fincher (The Curious Case of Benjamin Button), Christopher Nolan (The Dark Knight), Gus Van Sant (Milk)

Should be nominated: Gus Van Sant (Paranoid Park), Steven Spielberg (Indiana Jones and the Kingdom of the Crystal Skull), Kelly Reichardt (Wendy and Lucy), Larry and Andy Wachowski (Speed Racer), Andrew Stanton (WALL·E)

BEST ACTOR

Will be nominated: Clint Eastwood (Gran Torino), Richard Jenkins (The Visitor), Frank Langella (Frost/Nison), Sean Penn (Milk), Mickey Rourke (The Wrestler)

Should be nominated: WALL·E (WALL·E), Sean Penn (Milk), Josh Brolin (W.), Mickey Rourke (The Wrestler), Guillaume Depardieu (The Duchess of Langeais)

BEST ACTRESS

Will be nominated: Anne Hathaway (Rachel Getting Married), Sally Hawkins (Happy-Go-Lucky), Angelina Jolie (Changeling), Meryl Streep (Doubt), Kate Winslet (Revolutionary Road)

Should be nominated: Michelle Williams (Wendy and Lucy), Juliette Binoche (Flight of the Red Balloon), Sally Hawkins (Happy-Go-Lucky), Anne Hathaway (Rachel Getting Married), Meryl Streep (Doubt)

BEST SUPPORTING ACTOR

Will be nominated: Josh Brolin (Milk), Robert Downey, Jr. (Tropic Thunder), Phillip Seymour Hoffman (Doubt), Heath Ledger (The Dark Knight), Michael Shannon (Revolutionary Road)

Should be nominated: Bill Irwin (Rachel Getting Married), Heath Ledger (The Dark Knight), Robert Downey, Jr. (Tropic Thunder), David Strathairn (My Blueberry Nights), Tom Cruise (Tropic Thunder)

BEST SUPPORTING ACTRESS

Will be nominated: Penelope Cruz (Vicky Christina Barcelona), Viola Davis (Doubt), Taraji P. Henson (The Curious Case of Benjamin Button), Marisa Tomei (The Wrestler), Kate Winslet (The Reader)

Should be nominated: Emmanuelle Béart (The Witnesses), Rosemarie DeWitt (Rachel Getting Married), Debra Winger (Rachel Getting Married), Marisa Tomei (The Wrestler), Thandie Newton (RocknRolla)

Labels: awards, awards 08, oscar, oscar 09

BEST PICTURE: WALL·E

BEST DIRECTOR: Andrew Stanton (-) WALL·E

BEST ACTOR: Mickey Rourke (-) The Wrestler

BEST ACTRESS: Michelle Williams (-) Wendy and Lucy

BEST SUPPORTING ACTOR: Heath Ledger (-) The Dark Knight

BEST SUPPORTING ACTRESS: Marisa Tomei (-) The Wrestler

BEST ORIGINAL SCREENPLAY: Martin McDonagh (-) In Bruges

BEST ADAPTED SCREENPLAY: John Ajvide Lindqvist (-) Let the Right One In

BEST CINEMATOGRAPHY: Colin Watkinson (-) The Fall

BEST EDITING: Elliot Graham (-) Milk

BEST ORIGINAL SCORE: James Newton Howard & Hans Zimmer (-) The Dark Knight

BEST DOCUMENTARY: Dear Zachary: A Letter to a Son About His Father

BEST FOREIGN LANGUAGE FILM: Abstained

BEST ANIMATED FILM: WALL·E

BREAKTHROUGH FILMMAKER: Kurt Kuenne (-) Dear Zachary: A Letter to a Son About His Father

BREAKTHROUGH PERFORMER: Lina Leandersson (-) Let the Right One In

Labels: awards, awards 08

Jim,

Just recently finished Chop Shop, and I feel that the manner in which I came to view the film is too delightful to not share with another fan. Though I've used them for years, only tonight did I finally make time to dabble with Netflix's online streaming options. To give the movie viewing program a quick test run, I clicked on the highest title in my cue with the option to do so: Chop Shop (from here on out CS).

Halfway the first shot, I was hooked. Damn, does Bahrani know how to pace and set mood and tone. Mentally, I quickly relegated all other tasks to the back of my mind: I needed to watch this movie.

Overall, there's too much to love that I can even remember. (I took some notes during, but mostly just focused, becoming absorbed.) I love the juxtaposition of actions in the foreground against larger scale networks in the background. I love how the movie details an entire world that most viewers will have little to no personal experience with -- one that we see on occasion as we run parallel to it, but usually nothing more. I was often reminded of the beautiful, exposition-packed cutaways in McCabe and Mrs. Miller, and in it's own quiet way, CS too is a film about everything.

I loved how it shows us that everyone has their own art -- for some, it's repairing automobiles.

Did I mention the title's incredibly high fun factor? I want to say it all day.

I already saw Man Push Cart about a year ago, give or take. I liked it very much, and was delighted to see that not only is Ahmad Razvi a member of the Bahrani troupe, but that it's the same Ahmad! Am I a hipster if I say I'd like to see a post-MPC, pre-CS mid-quel?

The Chop Shop itself felt like a performer in a larger piece; like MPC, this is a film with an incredible sense of place, of space, of how they shape and guide and define us (and how we can recognize this and work it to our advantage).

One thing I should mention is a similar experience I had while watching both CS and MPC. Let me describe it as a temporary reservation about the unfolding plot of each film. In short, whenever something big happen, revelation/development-speaking (the disappearance of the cart, the discovery of Isamar in the truck), I feel, almost instinctively, like my chain is being jerked. It isn't until well into the rest of the film that I come to realize that this wasn't a set-up, but an occurrence, a stepping stone as opposed to a leap with an intended and pre-determined landing point already in mind. Bahrani, deliberately or not (which, I couldn't say), seems to be subverting some of our most basic narrative expectations, and he's doing it so well that I fell for the same trick (of the mind) twice.

There were maybe a half-dozen single shots in the movie that made me think "best of the year" status, in terms of both composition and clarity of purpose/sleight of hand. The favorite the springs first to mind sees Ale walking away from us, nighttime, with two subways running opposite directions on the tracks in the distance above. For a brief moment, as they finally run their lengths past each other, we see two lines of windows pulling away from each other, like a stream of light split down the middle being pulled apart. Then they disappear into the night like additional little universes making their way throughout some unseen larger one.

I can't yet call Bahrani one of my favorite current directors, but I'm a fan and I'll be keeping a close eye on him. In a way, I'm most excited by the fact that, great though these are, I don't yet think we've seen any of his masterpieces. I hope to be waiting for them in the theater when they come.

Oh, and the Netflix viewer was really good, too. I think I've found a new addiction.

Rob

Doubt (John Patrick Shanley, 2008). If the term "lowbrow highbrow" doesn't yet exist within our collective critical vernacular, I'd like to officially coin it as this film's chief descriptor. Praise be to John Patrick Shanley for adapting his own work in a manner that can actually be classified as cinematic, but methinks it is really Meryl Streep that guides this film into the realm of the worthwhile. Script-wise, things are about as unambiguous as they come, and so Streep's turn as a nun convinced of her priest's inappropriate relationship with an alter boy becomes less of a "did he/did he not do it" escapade than a morality play in which evils are accepted in hope of a greater good. There's Oscar prestige gloss here for sure, but the cast seems to approach it as if it were pulp; their eagerly mucking about the film's thematic underbelly almost justifies the relative triteness with which the material is presented. Hoffman's persona finds one of its best outlets yet therein, Amy Adams continues to endear, and though Streep's excellence has been misused much of late, her fascinating facial concentrations are a tour-de-force unto themselves. B-

Slumdog Millionaire (Danny Boyle, 2008). I've seen this film twice to date, and both times I've noticed distinct whiffs of The Wizard of Oz amidst the film's superbly romanticized climax; not so much in shared filmic qualities than in how both sidestep customary storytelling pretenses to go for the emotional jugular. As regarding the lifetime of experiences that aid the most unlikely of gameshow candidates -- a young boy (Dev Patel) whose ghetto life has provided him with a most extensive and varied array of skills and ever-so-helpful factoids -- Slumdog is comparable to Uma Thurman's Pulp Fiction adrenaline shot, a kinetic fireball of a movie in which every vibrant image and titillating edit trigger vast networks of emotional response. Boyle's flashback device would appear to be a hindrance to the whole, but Slumdog is nothing if not more than the sum of its parts, its collection of instantly iconic pop experiences effortlessly translating across the boundaries of age and culture into a superbly humanized modern-day fairy tale. B+

Defiance (Edward Zwick, 2008). Normally, I'm all about Jews with guns, but Munich this ain't. For a while, the latest from the reliably boring Zwick would appear to be an act of creative growth of sorts, and though it is certainly an improvement over the career-low that was Blood Diamond, this tale of a Jewish community that survived for three years of WWII in the Belarussian forest remains as emotionally robotic and superficially deliberate in its storytelling as one would expect from such blatant paint-by-numbers filmmaking. C

The Wrestler (Darren Aronofsky, 2008). The extreme stylistic dissimilarity between this and Aronofsky's previous film (the out-there sci-fi fantasy existentialism of The Fountain) and this is just about surface deep; The Wrestler is a film as particularly embodied by its chosen style as its predecessor, and is just as eager to feel and be felt. Rourke is sensational as the washed-up former celebrity wrestler Randy "The Ram" Robinson, but for me it's Aronofsky's handheld takes that steal the show: following Randy about his routines, achingly, effortlessly evoking the time that hangs on every choice and missed opportunity, all of it rather bittersweetly framed in the film's anti-romantic view of northwestern America. If certain passages feel more or less calculated, the overwhelming majority thrives on the film's lived-in sense of class consciousness; there may be no more heartbreaking scene of 2008 than the wallop-packing closer. B+

The Reader (Stephen Daldry, 2008). I'd written and editing a full-length review of this thing before Mozilla decided to crash and take with it my foolishly unsaved work; too bad, 'cuz I refuse to donate another hour of my life to reliving the unpleasantries of this unfortunately misguided adaptation. Never anything remotely close to condescending or evil, The Reader nevertheless suffers chiefly from a distasteful thematic overemphasis, though not far behind is the film's rather insistent self-flattery. As in Revolutionary Road, Winslet is good as a former SS agent who, while attempting to live a normal life in 1995 Berlin, has an affair with a 16-year-old literature enthusiast; after he sneaks a peek at her privates while she changes, it's only a matter of time before she's bawling her eyes out as he reads the climax of The Odyssey. Strangely dispassionate, there's never much morality to chew on for a film so purportedly serious. The banality of evil -- the means by which normal, moral people (i.e. the overwhelming majority of the German population) find themselves accepting and aiding something as overwhelmingly horrific as the Nazi holocaust -- goes relatively unexamined amidst all the futzy melodrama and faux-sensationalist sexcapades, the entirely of which enmesh in one of the most confused/confusing thematic wrap-ups I've ever seen in a film. In all ways, it's just about illiterate. C

Labels: capsules

Fifth. January. Monday. 2009. The Terminator was announced as one of the latest additions to the National Film Registry.

It's going to be a good year.

Labels: awards, terminator, youtube

This time last year, I submitted a ballot to the OFCS that probably stands as one of the top 5 most thrown-away votes in the history of the organization. Idealist though I may be, life both within and without of the movies has taught me better than to vote for third parties (politically, I never have), or their cinematic equivalents (one word: Colon). The options may be better in theory, but the system itself remains so unconducive to such actually ever being the victor that the effect is that of, to quote a friend, throwing dirt at the golem.

This year, I attempted to adjust the curve a bit so as to better aid those films that already have a chance of winning, versus virtually none whatsoever. Overall, I attempted to vote for those that I liked the most, but to weigh things primarily against those choices that were already shoo-ins (much as I like Heath Ledger's Joker, he wouldn't need my enthusiastic vote to take any prizes). Only when it came to the "lesser", technical categories did I go out on a few limbs, as you will see, though a few are simply bold/stupid attempts to put the deserving out there, even if no one else will (re: category #3, choice #1, I'm completely serious).

This can later be marked in contrast to my own personal "awards", which I'm holding off on until (1) we're further along in this season, and until (2) I've been able to catch up on more of my blind spots from last year. As of now, the nominations have been tallied and the results released, with voting continuing through the 17th. Over the next 12 days, then, I hope to catch up on the equal number of blind spots I have amongst the nominees (some I won't out of inability, at least one out of complete irrelevancy).

BEST PICTURE

1. Wendy and Lucy
2. Paranoid Park
3. Rachel Getting Married
4. WALL·E
5. The Wrestler

BEST DIRECTOR

1. Kelly Reichardt (-) Wendy and Lucy
2. Joachim Trier (-) Reprise
3. Jonathan Demme (-) Rachel Getting Married
4. Andrew Stanton (-) WALL·E
5. David Fincher (-) The Curious Case of Benjamin Button

BEST ACTOR

1. WALL·E (-) WALL·E
2. Mickey Rourke (-) The Wrestler
3. Josh Brolin (-) W.
4. Guillaume Depardieu (-) The Duchess of Langeais
5. Michael Shannon (-) Shotgun Stories

BEST ACTRESS

1. Michelle Williams (-) Wendy and Lucy
2. Anne Hathaway (-) Rachel Getting Married
3. Juliette Binoche (-) Flight of the Red Balloon
4. Asia Argento (-) Boarding Gate
5. Sally Hawkins (-) Happy-Go-Lucky

BEST SUPPORTING ACTOR

1. Bill Irwin (-) Rachel Getting Married
2. Eddie Marsan (-) Happy-Go-Lucky
3. Tom Cruise (-) Tropic Thunder
4. Robert Downey, Jr. (-) Tropic Thunder
5. Heath Ledger (-) The Dark Knight

BEST SUPPORTING ACTRESS

1. Rachel McAdams (-) Married Life
2. Rosemarie DeWitt (-) Rachel Getting Married
3. Marisa Tomei (-) The Wrestler
4. Amy Adams (-) Miss Pettigew Lives for a Day
5. Debra Winger (-) Rachel Getting Married

BEST ORIGINAL SCREENPLAY

1. Joachim Trier and Eskil Vogt (-) Reprise
2. Andrew Stanton & Jim Reardon (-) WALL·E
3. Jenny Lumet (-) Rachel Getting Married
4. Kurt Kuenne (-) Dear Zachary: A Letter to a Son About His Father
5. Mike Leigh (-) Happy-Go-Lucky

BEST ADAPTED SCREENPLAY

1. Jonathan Raymond and Kelly Reichardt (-) Wendy and Lucy
2. Ira Sachs & Oren Moverman (-) Married Life
3. Pascal Bonitzer, Christine Laurent and Jacques Rivette (-) The Duchess of Langeais
4. Simon Beaufoy (-) Slumdog Millionaire
5. Maurizio Braucci & Ugo Chiti & Gianni Di Gregorio & Matteo Garrone & Massimo Gaudioso & Roberto Saviano (-) Gomorra

BEST DOCUMENTARY

1. Dear Zachary: A Letter to a Son About His Father
2. Man on Wire
3. Shine a Light
4. My Winnipeg
5. Encounters at the End of the World

BEST NON-ENGLISH FILM

1. Reprise
2. Flight of the Red Balloon
3. The Duchess of Langeais
4. CJ7
5. Gomorrah

BEST ANIMATED FILM

1. WALL·E
2. Kung Fu Panda
3. Horton Hears a Who!

BEST CINEMATOGRAPHY

1. David Tattersall (-) Speed Racer
2. Pin Bing Lee (-) Flight of the Red Balloon
3. Darius Khondji (-) My Blueberry Nights
4. Anthony Dod Mantle (-) Slumdog Millionaire
5. Colin Watkinson (-) The Fall

BEST EDITING

1. Roger Barton and Zach Staenberg (-) Speed Racer
2. Tim Squyres (-) Rachel Getting Married
3. Mike Burchett and Kelly Reichardt (-) Wendy and Lucy
4. Kurt Kuenne (-) Dear Zachary: A Letter to a Son About His Father
5. Lee Smith (-) The Dark Knight

BEST ORIGINAL SCORE

1. Michael Giacchino (-) Speed Racer
2. James Newton Howard & Hans Zimmer (-) The Dark Knight
3. Thomas Newman (-) WALL·E
4. Clint Mansell (-) The Wrestler
5. Kyle Eastwood and Michael Stevens (-) Gran Torino

BREAKTHROUGH PERFORMER

1. Anders Danielsen Lie (-) Reprise
2. Gabe Nevins (-) Paranoid Park
3. Dev Patel (-) Slumdog Millionaire
4. Norah Jones (-) My Blueberry Nights

BREAKTHROUGH FILMMAKER

1. Joachim Trier (-) Reprise
2. Kurt Kuenne (-) Dear Zachary: A Letter to a Son About His Father
3. Charlie Kaufman (-) Synechdoche, New York
4. Laura Dunn (-) The Unforeseen

Labels: awards, awards 08, lists

Let's not waste any more time. Enough has been lost on my part as a result of personal indecision, depression, and the self-perpetuating downward spiral such coexisting elements have a tendency to produce. That some of my friends and readers have expressed sadness over my relative absence here these past months means more to me than I can express: this is as much my passion, my love, my search of meaning and truth as anything else in this life, and having not exercised my voice for so long, I've been finding it weak, often absent, a literal hole in my heart.

So here I am, geared up for 2009. As much as I hate New Year's resolutions in concept, I'm as much a sucker for them as the next guy, and plan on making this year a comeback of sorts. I may not be able to make a lucrative living on film criticism, but I'll be damned if it isn't an active part of my lifestyle. As I've experienced recently, there are few things worse than having opinions on everything and no spirit to properly express them.

Some brief updates. No longer do I plan on reviewing movies here, per se. Call it petty (as it truly is), but using the flexibility of the blog to publish singular "reviews" has always seemed like something of a waste to me, as I'd much rather this place be used as a springboard for greater discussions. Now that I've been hired and am writing for Suite101 (a major step in my recent revitalization), I have an outlet I can use to publish revenue-producing reviews on anything I want, whenever I want.

As usual, all reviews and articles will be linked here, but expect more topical, offbeat and exploratory discussions (and the occasional pissed-the-hell-off rant) to be the focus here. See below for a catch-up list on everything I've published since going astray, plus a blog-specific post on my favorite films from the rich 2008.

My best wishes to all, this year and henceforth.

Unposted review links, in chronological order:

The Happening & The Incredible Hulk (The House Next Door)
Days and Clouds (Slant Magazine)
Meet Dave (Slant Magazine)
Bustin' Down the Door (Slant Magazine)
Disaster Movie (Slant Magazine)
The Family That Preys (Slant Magazine)
My Best Friend's Girl (Slant Magazine)
La León (Slant Magazine)
Quarantine (Slant Magazine)
Quantum of Solace (Suite101)
The Dark Knight (Suite101)
Irréversible (Suite101)
Hellboy II: The Golden Army (Suite101)
W. (Suite101)
Revolutionary Road (Suite101)
Expelled: No Intelligence Allowed (Suite101)
2008 Year in Review: The Bottom Eleven (Suite101)
Aqua Teen Hunger Force: Volume 6 DVD (Suite101)
The Dark Knight: 2-Disc Special Edition DVD (Suite 101)
Gran Torino (Suite101)