Her (2013)

8.4/10

Samantha: The past is just a story we tell ourselves.

This is probably my last pre-Oscars 2014 Ceremony but what a film did I choose to close with. On the one hand, I'm actually very glad that I happen to end this run with this film (not meaning there's not going to be any more reviews coming after the Academy Awards Ceremony), but on the other hand I have to admit that I oughtta feel a wee bit ashamed I wasn't able to screen this film sooner. 

As you might have already guessed, I'm quite in awe of this film and the themes it presents. 'Her' speaks about Theodore: a lonely man in the final stages of his divorce. When he's not working as a letter writer, his down time is spent playing video games and occasionally hanging out with friends. He decides to purchase the new OS1, which is advertised as the world's first artificially intelligent operating system, "It's not just an operating system, it's a consciousness," the ad states. Theodore quickly finds himself drawn in with Samantha, the voice behind his OS1. As they start spending time together they grow closer and closer and eventually find themselves in love. Having fallen in love with his OS, Theodore finds himself dealing with feelings of both great joy and doubt. As an OS, Samantha has powerful intelligence that she uses to help Theodore in ways others hadn't, but how does she help him deal with his inner conflict of being in love with an OS? 

Spike Jonze (Where the Wild Things Are, Being John Malcovich, Jackass Presents: Bad Grandpa) has chosen to present us a film which shows exactly how are society is evovling nowadays. The rapid evolution of technology is soon taking part of our every day lives in more ways than one could have thought of 100 years ago. The sentimentality, the humanity and the vulnerabilyt of the human psyche and the forces of the heart are purely a few of the themes explored in this social drama. Jonze is a filmmaker with a lot of soul, who wasn't afraid to write and direct a film that shows real human alienation, impossible affection and true love; albeit not the conventional kind that society has formed it to be, but definitely something totally fresh and advanced for the times which we are living in. 

Brilliantly so, one of the most underrated actors of his generation and currently in Hollywood, Joaquin Phoenix (The Master, Walk The Line, Gladiator, Hotel Rwanda), embodies this lonely individual who give so much growth and emotion to his character. The on-screen chemistry with an invisible OS voice (voiced by the alluring yet calming voice of Scarlett Johansson) is just one of the most unique and complex on-screen performances I have seen in a long while. The depth and the absurdistic scenario of this unconventional relationship seems to be endearing and at the same time raising key fundamental questions regarding the evolution of modern society; alienation, loneliness, lack of human interaction. 

This is such a bittersweet tale that will transcend into filmmaking history for its warmth and raw truth of the human psyche. Quite notably so it's up for an Academy Award for Best Picture, Best Screenplay and Best Original Song. Let us hope that the Academy will do it justice and put it in the pedastal it deserves, alongside with the other heavy-weight for this year, '12 Years A Slave'. 

So, screen this film with an open mind and most importantly an open heart. See you after the Oscars everyone. 

Hope you enjoyed this year's Road to Oscars. 

           

Her (2013)

American Hustle (2013)

7.6/10

Irving Rosenfeld: She was the Picasso of passive-aggressive karate.

It is always a pleasure to indulge in the world of the 1970s. Especially when that world involves some clever plot narrative and an exceptional string of actors to acccompany this tale of conning. 

'American Hustle' tells the story of brilliant con man Irving Rosenfeld (Christian Bale), who along with his equally cunning and seductive British partner Sydney Prosser (Amy Adams) is forced to work for a wild FBI agent Richie DiMaso (Bradley Cooper). DiMaso pushes them into a world of Jersey powerbrokers and mafia that's as dangerous as it is enchanting. Jeremy Renner is Carmine Polito, the passionate, volatile, New Jersey political operator caught between the con-artists and Feds. Irving's unpredictable wife Rosalyn (Jennifer Lawrence) could be the one to pull the thread that brings the entire world crashing down. (source: www.imdb.com)

The film starts off demanding the viewer's attention. Introducing heads on, one by one each character, letting us know throughout who's who and what's what; a technique that lets us focus more on each character's individual journey and dramatic unravelling. Everyone has it's own little story to tell; from the con-man to the corrupt police-officer sitting beside his safety desk. 

David O. Russell (Silver Linings Playbook, The Fighter, Three Kings) is a cunning director, who cleverly popped into the filmmaking rader and made sure that we give him a chance. And boy, what a chance he got. The art of crafting visual stories is but a puzzle to him that he simply cannot wait to share with his audience. First indulging us into their lives, their small-town drama that seems to be taking on a more human note throughout the film. The intermixture between the comedic and the dramatic seems to have a key role in thickening of the plot, as it doesn't let the audience get weary of the variety of story lines. 

Likewise, just as the story interchanges from one character to another it tends to be a bit demanding of the director to keep up with who's dealing with who and what's going on when. All this trivial information tend to get entangled something which can easily make for a complex viewing, something which is not very well received from the average viewer. 

However, the brilliance here lies in the cast as well; the thespians. The talanted Mr. Christian Bale (The Dark Knight, The Machinist, The Prestige, American Psycho), who is the king of kings, a sort of Ozymandias to this entire expedition, portrays the key con-man, that woos and seduces his way through everything. Along the way, love seems to be his driving force, that ultimately leads him to a tone of redemption in his character. Bale is the kind of actor who put the phrase 'good acting' to shame; not because his in lack of it, but because he's in an overflow of it. His evocative presence on screen is something that we are unwilling to resist. Quite rightly so that he is also up for an Oscar of Best Actor.

Similarly so, the stunning and ever so glorious, Amy Adams (Enchanted, Doubt, The Fighter, Julie and Julia) she seems to bedazzle the audience; after one stops learing from her alluring physical seduction, he is in awe of what an incredible acting performance she gives out. Her engagement with her character, the warmth and her passion into the story is but a few examples that make one rethink of this hometown sweetheart who seems to not only blossoms in front of our eyes but engross us into her character's dramatic narrative. Adams is a worthy contender of this year's Best Actress nominations, and one should not underestimate her acting skills for she has come a long way and in 'American Hustle' she seems to be shinning as bright as she possibly can. 

Likewise, it would be a terrible omission not to include the likes of Bradley Cooper and Jennifer Lawrence, who both seem to have been somewhat of a charm for David O.Russell. In all fairness, David O.Russell cleverly put his two most productive cast actors from his previous films together ('The Fighter' and 'Silver Linings Playbook') and once again seems to have struck gold in the hearts of his audience and for the Academy's committee too. 

'American Hustle' may not be the most brilliant con-plot story in filmmaking history but it's definitely clever, if not amusing to say the least. 

Hope you enjoy it. Make sure to take notes on how to avoid getting caught. The key is to pay attention to the details. 

           

American Hustle (2013)

Frozen (2013)

8.1/10

Olaf: Hi, everyone. I'm Olaf and I like warm hugs!

It's been a long time coming for this particular film, and most improtantly for Disney. From the makers of 'Pocahontas', Chris Buck and Jennifer Lee, this film is everything every Disney lover was hoping for. 

'Frozen' tells the story of Anna, a fearless optimist, sets off on an epic journey - teaming up with rugged mountain man Kristoff and his loyal reindeer Sven - to find her sister Elsa, whose icy powers have trapped the kingdom of Arendelle in eternal winter. Encountering Everest-like conditions, mystical trolls and a hilarious snowman named Olaf, Anna and Kristoff battle the elements in a race to save the kingdom. From the outside Anna's sister, Elsa looks poised, regal and reserved, but in reality, she lives in fear as she wrestles with a mighty secret-she was born with the power to create ice and snow. It's a beautiful ability, but also extremely dangerous. Haunted by the moment her magic nearly killed her younger sister Anna, Elsa has isolated herself, spending every waking minute trying to suppress her growing powers. Her mounting emotions trigger the magic, accidentally setting off an eternal winter that she can't stop. She fears she's becoming a monster and that no one, not even her sister, can help her. (source: www.imdb.com)

With an incredible voice-acting and singing cast, that which most of all the likes of a them such as Idina Menzel, Kristen Bell, Jonathan Groff and Josh Gad, this Disney masterpiece is all that an adult or a kid loving fan could have asked for. The music, the Hans Christian Andersen spin-off story of 'The Snow Queen', the moral messages, lest we forget them, the jokes, the chemistry. Take all that, mix it up together and you've got a dream film that Disney hasn't seen in years.

So dreamy in fact that 'Frozen' has warmed its way into the Academy's heart and it's most likely the biggest contender of getting the golden statue at tomorrow award's ceremony, both for Best Animated Film and Best Song. 

For those who are look to have a good time, a totally old-magic-Disney time this film will not in the least bit disappoint. It also teaches, finally, that Disney female characters don't need saving by a male one. Go Disney!!! 

           

Frozen (2013)

The Great Beauty aka La Grande Bellezza (2013)

7.4/10

Jep Gambardella: This is how it always ends. With death. But first there was life, hidden beneath the blah, blah, blah... It's all settled beneath the chitter chatter and the noise, silence and sentiment, emotion and fear. The haggard, inconstant flashes of beauty. And then the wretched squalor and miserable humanity. All buried under the cover of the embarrassment of being in the world, blah, blah, blah... Beyond there is what lies beyond. And I don't deal with what lies beyond. Therefore... let this novel begin. After all... it's just a trick. Yes, it's just a trick.

This film was made to remind us of what we all forget to appreciate; beauty. Raw, extravagant, extraordinary, magnificent, omniposcent beauty. It's all around. Just sometimes we do not stand still to glorify it. Paolo Sorrentino made this film to help us remember the beauty in everything. From the silliest of conversations to the most magnanimous piece of art. 

'The Great Beauty' is about journalist Jep Gambardella, who has charmed and seduced his way through the lavish nightlife of Rome for decades. Since the legendary success of his one and only novel, he has been a permanent fixture in the city's literary and social circles, but when his sixty-fifth birthday coincides with a shock from the past, Jep finds himself unexpectedly taking stock of his life, turning his cutting wit on himself and his contemporaries, and looking past the extravagant nightclubs, parties, and cafés to find Rome in all its glory: a timeless landscape of absurd, exquisite beauty. (source: www.imdb.com)

Pay close attention to the word 'absurd' in the description above, since it plays a key part in Sorrentino's film. The film is stylized in such a way that one cannot help but make the comparison between Fellini's masterpiece '8 1/2'. The visually stunning spectacle of Rome's landscape and the high society represented in both film is simply inescapable. From Rome in 1963 to Rome 2013 we see that 'the artist' is still struggling with himself to find his inner peace. 

Sorrentino cast Toni Servillo as his leading man, the tortured soul of the artist who goes from one luxury party to another, from one great hedonistic adventure to another all the while feeding us with the absurdism that surrounds still this modern society. In this journey of self discovery and inner peace there comes the brilliance in Servillo's acting; the haunted man, who finds little pleasure from the high end lifestyle he was so far leading, searching and yearning for a greater beauty.

Speaking in visual terms Sorrentino has drew great imitations from Fellini's Roman filmmaking, 'La Dolce Vita' and '8 1/2', all equipped with the glitz and the glamour of the decadance of the elite; the high society who circles its prey until they are left hollow and with no purpose in life, aimlessly wandering trying to find what it's all about. This point Sorrentino cleverely gives us a glimpse of what that hollowness feels and tastes like after years of endless extravaganza. 

The film however, tends to become somewhat of a long and tedious journey of an artist's search of his inner psyche, that at the end concludes into a nothingness of air; in other words as sarcastic as Sorrentino is trying to be about how vain our small little lives are, his visual eye seems to drift and strecth so much that it can easy pass on as nothing more than a story of surrealistic narrative. 

Despite its wombly bits, this film aims to rekindle a long forgotten bond between past and present, drawing to an open conclusion of what is real beauty in the end for each person. 

An excellent submission from Italy for this year's Academy Awards and from the looks of it this might be getting the dear old Uncle Oscar in the end, since it is truly a marvel to watch the evocative restless spirit of Servillo on the big screen. 

          

La Grande Bellezza (2013)

Philomena (2013)

7.7/10

-Philomena: And after I had the sex, I thought anything that feels so lovely must be wrong.
-Martin Sixsmith: Fucking Catholics.



There's always something heart-warming when you sit down to watch a film about self-discovery and atonement. And it's always equally surprising when you enjoy the film more than you initially anticipated.

'Philomena' tells the real life story of Philomena Lee, who after years of keeping mum, she went seeking for her long lost son. When former journalist Martin Sixsmith is dismissed from the Labour Party in disgrace, he is at a loss as to what do. That changes when a young Irish woman approaches him about a story of her mother, Philomena, who had her son taken away when she was a teenage inmate of a Catholic convent. Martin arranges a magazine assignment about her search for him that eventually leads to America. Along the way, Martin and Philomena discover as much about each other as about her son's fate. Furthermore, both find their basic beliefs challenged. (source: www.imdb.com)

Steve Coogan (Tristram Shandy: A Cock and Bull Story, Hot Fuzz, In the Loop, Tropic Thunder), who co-wrote the script with Jeff Pope, also stars as the gifted yet misunderstood journalist who is trying to find himself after his horrendous dismisal from the BBC. Coogan has proven time and time again what a brilliant comedian he is, but with this one he goes one step further in showing to the wide audience that drama suits him equally well. 

The sensitivity and the humanity in which both Coogan and Dame Judi Dench treated Lee's real life story is extraordinary. Two very un-similar characters onto a journey of soul searching. The humourous blends ever so subtly with the dramatic, keeping the viewer to sympathize even, with what the characters are going through. Who said that drama can't be hilarious? This film proves that even evil nuns can have their funny side. 

In all seriousness though, the genious behind the film is truly owed to the evocative story of the real Philomena Lee and the man who sought out to make her story be heard. Coming to add a little bit more of his genious is Oscar nominated director Stephen Frears (The Queen, High Fidelity, Dangerous Liaisons), who makes sure that his audience does not fall into the trap of the melo-drama, but instead builds up the suspsense in sweet down-to-earth agony of where this story could end. 

The film is beautifully shot in locations between Ireland, England and the United States, giving the viewer a travelling feast between the then and now moments, whilst at the same time raising some serious fundamental issues regarding religion and faith. Cleverly so, the writers implemented their stories with philosophical and moral questions such as 'Is there God?' or 'Should one believe in God?' or 'How do you keep your faith, even after the nuns sell your child to the Americas?'. Coming back to an age where a good Catholic girl should be pious and pure, Philomena Lee had sinned, and for her mistake, she was punished rightly so, by having her son taken away from her. 

The humanity and the empathy in which Dench operates as Philomena is remarkable. Her humility and her strength to forgive makes us realize that there are greater things to hold onto nowadays than the anger that we are taught not to let go in modern day society. This wholesome feeling of faith is what truly inspires audiences and what makes them connect to Philomena's story.

A very heart-warming film that it is definitely worth a watch. Albeit nominated for Best Picture as well, it rightly deserves its place in the list. 








           

Philomena

The Wolf of Wall Street (2013)

8.2/10

Jordan Belfort: Let me tell you something. There's no nobility in poverty. I've been a poor man, and I've been a rich man. And I choose rich every fucking time.

Martin Scorsese is a filmmaking legened. Leo DiCaprio is fast becoming one at that as well. This dynamic duo have proven to us time and time again, movie after movie, that they work wonders together and that when you sit down for a screening in one of their films, you should be prepared to be razzle dazzled. 

So what is it that makes 'The Wolf of Wall Street' a piece of remarkable filmmaking? Is it the snorting cocaine of a drug Wall Street addict? Is it his exessive sexcapades? Or is it his overwhelming greed for money? In my opinion, it's none of the above. Although all of the above are widely futured in this film, none of these really play a key role to what Scorsese and DiCaprio are trying to create; the goal is the absolute transfixion of the viewer. No more, no less.

Let us not stall too much ahead and get on with what the plot's about: This is the real life story (yet again this year) of Jordan Belfort, a Long Island penny stockbroker who served 36 months in prison for defrauding investors in a massive 1990s securities scam that involved widespread corruption on Wall Street and in the corporate banking world, including shoe designer Steve Madden. (source: www.imdb.com)

The admiration of this film comes from the empowring cast and crew throughout, scene in and scene out, to give us a masterful picture - if you will - of what really goes down at the other side of the grass. Despite the film running on a usual Martin Scorsese time duration - 3 hours long - you never miss a scene where DiCaprio won't be flaring up his acting stamina and battle away each scene like it was yesterday's chinese leftovers. His growth and resilience in recreating Jordan Belfort is something of a mastermind genius; I'm mostly talking of course of this horrendously hilarious scene where he has to crawl from the casino place to his car, all the while being as high as the Empire Estate building (aka on cocaine as it was his vice). 

Overacting is a must in this film. Going all out and giving it, not the best but your super powers best, was what makes this film memorable. The endless dialogue about making and conning out money is an absolute thrill to wrap one's mind around. To come full circle in this bombardic cast comes as the cherry on the cake, a Mr. Jonah Hill, who throughout the years he's proven a most capable comedian and an actor who's not in the least bit ashamed of giving physical acting a kick in the head. Again, I'm talking about the much-buzzed about scene of Hill mustarbating in one of the infamous parties of Belfort, going as far as to show off his goodies to the entire filmosphere. Of course, by all means the penis was a flook but the scene got its thumbs up for its daringness and provocative attitude. 

A very intriguing guest appearance comes to give another one of those Scorsese razzle-dazzle moments, with Matthew McConaguhey being the man who started it all for DiCaprio's character; his first money-grabbing-lying-addict-piece-of-two-time-egomaniac-mentor, who first introduced him to this world of power and endless greed. And there again you have the brilliance of Scorsese letting his actors overpower the screen with their wit and their impending improvisation. Once more, I am talking of course of the famous scene where McConaguhey's character  first wines and dines DiCaprio's character, whilst teaching him all the tricks and turns of what it takes to make it to Wall Street. A little bit of musical humming proves none so fatal on screen, as this is - and you have my sincerest word on that - the scene that initiates it all. You're hooked after that. 

Admittedely, and as I like to be as frank as possible when reviewing films out there, I will say this was not a film that I could brand as 'my-cup-of-tea'. Far from it actually. But given the history and the desperation both in the acting and the direction, I relented and really went in wanting to give this film a chance. Despite the overwhelming views and buzz this film has been receiving, both for acting and script material, I must admit that by the end of the film I was left high and dry as it did not give me the full satisfaction I went in seeking for. 

It's all nice and good to be wanting to be razzle-dazzled but when it's too much, it gets overbearing and overboard. This is what happened here; everything was in such an excess that it felt jaded and overstuffed at various points throughout the film. Kinda like a beef turkey on Thanksgiving; too much for just one day of feasting. I am of the opinion that, whoever said that 'toning it down' and 'simple is best', knew exactly what he was talking about. 

Of course, lest we forget ourselves, this is a Scorsese film we are talking about, and toning it down, is not a phrase one might find in his filmmaking vocabulary. The passion and the zeal of treatment in this story is what truly gives it wings to take off, and it seems that it most certainly did fly as it reached all the way to the Academy Awards as a Best Picture Film and with Oscar nod nomations in categories such as Best Actor, Best Supporting Actor, Best Adapted Screenplay and last, but not at all and not in the slightest very least, Best Achievement in Directing. 

If you haven't yet indulged yourselves in this particular cup of tea, you have been warned; be prepared for most about everything!!! And most of all be prepared to witness some foxy full frontal scenes with a rising star on the go, Ms Margot Robbie, who's proven that being sexy can be both by wit or by having a killer body figure. Watch out for that!

Hope you enjoy this filmmaking Colossus!

           

                                       The Wolf of Wall Street (2013)

Gravity (2013)

   8.1/10 

Matt Kowalski: I get it, it's nice up here. You could just shut down all the systems, turn down all the lights, just close your eyes and tune out everyone. There's nobody up here that can hurt you. It's safe. What's the point of going on? What's the point of living? Your kid died, it doesn't get any rougher than that. It's still a matter of what you do now. If you decide to go then you just gotta get on with it. Sit back, enjoy the ride, you gotta plant both your feet on the ground and start living life. Hey, Ryan, it's time to go home.

Right, now let's get a crack-a-liking. This post was a bit long overdue, so I won't waste your time prepping you anymore. Since we've had had the Golden Globe Awards, the SAG Awards, the Producer's Guild Awards, the Critics Awards and the much ignored People's Choice Awards, it's time we get this boat sailing and start doing some major revewing of what's in the cinemas right now and buzzing for the Oscars. 

Many opinions have been flying about for this particular film. Some of which were mostly (in retrospect) negative, regarding mostly the "acting" element in the film. Many people (in retrospect) were defuting that there was any acting involved in the film. It was just all floating and CGI flying over our heads for 2 hours in the cinema. But let's dig a little bit deeper, shall we?

The reason I used the word - in retrospect, twice above- is because up until the point the film was shown in the cinemas, people were too eager to go and marvel at Alfonso Cuaron's phenomenon. 'Oh what has he achieved now? Does it work? Is it as spectacular as they market it to be?'. And so on and so forth.

So we went to watch it and form our own impressions on this space adventure. 

Gravity then - what's it about? 

Just briefly to say the synopsis, for those who have not yet indulged in watching this film, and would like to know what's all the fuss about: "Dr. Ryan Stone (Sandra Bullock) is a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalsky (George Clooney) in command of his last flight before retiring. But on a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone - tethered to nothing but each other and spiraling out into the blackness." (source: www.imdb.com)

So let's start with emotion: was there any? Various opinions in the horizon, many have intense objections regarding emotional drama in the film. Personally I experienced goosebumps. Major ones too. Why?

First of all, let's not forget on the conditions the two actors were asked to portray their characters in. 90% of the film was shot with green screen, having just a camera pointing to them or following them around, talking to the absolute emptiness, floating about, with heavy space gear on. And on top of that, they had to deliver lines, and extract emotion. 

Maybe so, Clooney's role may have been limited, he hardly stayed there long enough to develop any kinds of emotions with the viewers, apart from the comedic relief ones very early one in the film - and most of the female audience were sad to see him go so soon from their screen projector. 

So was it enough to have a one-protagonist film for the remaining time of the film, and a female one at that?

I've never considered Sandra Bullock, THE GREATEST actress to hold an entire film all by herself. However, she in in some ways brilliant in her own manner - as we have seen her in the past in comedies and dramas alike (The Blind Side, Crash, The Lake House, Speed, The Proposal, Miss Congeniality I & II). As an actress she did have her ups and downs, but looking at her acting work objectively in this film, we must grant her that she did a pretty good job in maintaining a balance in her role. 

It is a big deal to just float about and have the ability to convey the fear, the loneliness, the sadness of this character. Lest we forget, Cuaron, cleverly subplotted the character's backstory into the plot, and how the vast emptiness that she was experiencing in her life, would ultimately be the breaking point for her survival. It was a bold move to allow Bullock to transform this space journey into a journey of survival, but I believe it paid off for multiple reasons. 

Considering the visual techniques in Gravity, we have nothing but marvel Alfonso Cuaron (Y Tu Mama Tambien, Children of Men, Harry Potter and the Prisoner of Azkaban, Paris Je T'Aime, Great Expectations). He co-wrote the screen play with his son, Jonas Cuaron, and he made sure that he didn't spend a lot of time on trivial matters when it came to induling in his space experience. 

Visually, Gravity was an immensely challenging film to shoot due to all the various aspects he had to consider regarding what it actually feels like to be in space. Along with his cinematographer Emmanuel Lubezki (Sleepy Hollow, Children of Men, they chose to enhance their production with real-life elements that would enable the viewer to believe that whilst the dramatic action was in place so would the visual will be in a perfect coordination. 

An example of that was the use of the lighting and the sound which would indicate at exactly what time span the action was unravelling whilst the time was rapidly moving. They managed to coordinate these two key elements in this visual story, so that every time one of the actors would move or float would have the precise lighting and sound that would actually exist in real life space time. Along with their LED lighting techniques and their physical movement coordination they had to make sure that every dramatic line would not step onto the visual narrative of the film's production.

The average viewer will consider all of these make-belief techniques and undertakings trivial and unimportant to the dramatic narrative of the story, at some points even exhausting and with nothing real to convey. 

The true masterpiece comes from within these elements though; if we but only consider that the character is actually floating solo in space, with no mission control to actual have a guidance from, the gravity of the situation is a fierce one. What Cuaron plays upon, is so skillfully to produce a unison between the psychological action going on in the character's psyche along with the external forces that penetrate the character with their visual infusion. In terms of production filmmaking, this is a visual glory at its best. And Cuaron did not fail to produce a carefully executed story that would present a thematically challenging narrative whilst allowing the viewer to get a glimpse of this 'what would it be like out there'. 

In visual terms, the production team worked marvels, thus quite rightly so it is now heralded with an overflow of nominations and awards. The filmmaking community distinguishes this work, not so much on the sympathy of the characters but for the gravity of the visualization of the unknown. And to this we would only be fair to admit Cuaron's extraordinary directorial genuis. 

Objectively so, this film is not everyone's cup of tea type of film. It is not your average Star Trek or outer space experience kind of film, but it is definitely a visualized conceptual piece of filmmaking you simply cannot reject by its lack of family drama. It is another piece of art, a more uknown thematically filmmaking piece, that deserves its proper recognition in its own terms. 

Lastly, just to briefly mention the astounding musical score of the film by composer Steven Price, which is also up for an Oscar nomination. You can listen to a piece from the soundtrack here. 

For those that did enjoy the film, I am glad you relished in its own groundbreaking filmmaking boundaries. And for the ones that didn't, I hope it didn't drag on too long till you got out of the cinema hall. 

Till next time folks. 

           

                            Gravity
                            (2013)

The 85th Annual Academy Awards

The 85th Annual Academy Awards 

Best Motion Picture of the Year

WINNER

Argo (2012): Grant Heslov, Ben Affleck, George Clooney

Other Nominees:

Amour (2012): Margaret Ménégoz, Stefan Arndt, Veit Heiduschka, Michael Katz

Beasts of the Southern Wild (2012): Dan Janvey, Josh Penn, Michael Gottwald

Django Unchained (2012): Stacey Sher, Reginald Hudlin, Pilar Savone

Les Misérables (2012): Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh

Life of Pi (2012): Gil Netter, Ang Lee, David Womark

Lincoln (2012): Steven Spielberg, Kathleen Kennedy

Silver Linings Playbook (2012): Donna Gigliotti, Bruce Cohen, Jonathan Gordon

Zero Dark Thirty (2012): Mark Boal, Kathryn Bigelow, Megan Ellison

Best Performance by an Actor in a Leading Role

WINNER

Daniel Day-Lewis for Lincoln (2012)

Other Nominees:

Bradley Cooper for Silver Linings Playbook (2012)

Hugh Jackman for Les Misérables (2012)

Joaquin Phoenix for The Master (2012)

Denzel Washington for Flight (2012/I)

Best Performance by an Actress in a Leading Role

WINNER

Jennifer Lawrence for Silver Linings Playbook (2012)

Other Nominees:

Jessica Chastain for Zero Dark Thirty (2012)

Emmanuelle Riva for Amour (2012)

Quvenzhané Wallis for Beasts of the Southern Wild (2012)

Naomi Watts for The Impossible (2012)

Best Performance by an Actor in a Supporting Role

WINNER

Christoph Waltz for Django Unchained (2012)

Other Nominees:

Alan Arkin for Argo (2012)

Robert De Niro for Silver Linings Playbook (2012)

Philip Seymour Hoffman for The Master (2012)

Tommy Lee Jones for Lincoln (2012)

Best Performance by an Actress in a Supporting Role

WINNER

Anne Hathaway for Les Misérables (2012)

Other Nominees:

Amy Adams for The Master (2012)

Sally Field for Lincoln (2012)

Helen Hunt for The Sessions (2012)

Jacki Weaver for Silver Linings Playbook (2012)

Best Achievement in Directing

WINNER

Ang Lee for Life of Pi (2012)

Other Nominees:

Michael Haneke for Amour (2012)

David O. Russell for Silver Linings Playbook (2012)

Steven Spielberg for Lincoln (2012)

Benh Zeitlin for Beasts of the Southern Wild (2012)

Best Writing, Screenplay Written Directly for the Screen

WINNER

Django Unchained (2012): Quentin Tarantino

Other Nominees:

Amour (2012): Michael Haneke

Flight (2012/I): John Gatins

Moonrise Kingdom (2012): Wes Anderson, Roman Coppola

Zero Dark Thirty (2012): Mark Boal

Best Writing, Screenplay Based on Material Previously Produced or Published

WINNER

Argo (2012): Chris Terrio

Other Nominees:

Beasts of the Southern Wild (2012): Lucy Alibar, Benh Zeitlin

Life of Pi (2012): David Magee

Lincoln (2012): Tony Kushner

Silver Linings Playbook (2012): David O. Russell

Best Animated Feature Film of the Year

WINNER

Brave (2012): Mark Andrews, Brenda Chapman

Other Nominees:

Frankenweenie (2012): Tim Burton

ParaNorman (2012): Sam Fell, Chris Butler

The Pirates! Band of Misfits (2012): Peter Lord

Wreck-It Ralph (2012): Rich Moore

Best Foreign Language Film of the Year

WINNER

Amour (2012)(Austria)

Other Nominees:

War Witch (2012)(Canada)

No (2012/I)(Chile)

A Royal Affair (2012)(Denmark)

Kon-Tiki (2012)(Norway)

Best Achievement in Cinematography

WINNER

Life of Pi (2012): Claudio Miranda

Other Nominees:

Anna Karenina (2012/I): Seamus McGarvey

Django Unchained (2012): Robert Richardson

Lincoln (2012): Janusz Kaminski

Skyfall (2012): Roger Deakins

Best Achievement in Editing

WINNER

Argo (2012): William Goldenberg

Other Nominees:

Life of Pi (2012): Tim Squyres

Lincoln (2012): Michael Kahn

Silver Linings Playbook (2012): Jay Cassidy, Crispin Struthers

Zero Dark Thirty (2012): William Goldenberg, Dylan Tichenor

Best Achievement in Production Design

WINNER

Lincoln (2012): Rick Carter, Jim Erickson

Other Nominees:

Anna Karenina (2012/I): Sarah Greenwood, Katie Spencer

The Hobbit: An Unexpected Journey (2012): Dan Hennah, Ra Vincent, Simon Bright

Les Misérables (2012): Eve Stewart, Anna Lynch-Robinson

Life of Pi (2012): David Gropman, Anna Pinnock

Best Achievement in Costume Design

WINNER

Anna Karenina (2012/I): Jacqueline Durran

Other Nominees:

Les Misérables (2012): Paco Delgado

Lincoln (2012): Joanna Johnston

Mirror Mirror (2012/I): Eiko Ishioka

Snow White and the Huntsman (2012): Colleen Atwood

Best Achievement in Makeup and Hairstyling

WINNER

Les Misérables (2012): Lisa Westcott, Julie Dartnell

Other Nominees:

Hitchcock (2012): Howard Berger, Peter Montagna, Martin Samuel

The Hobbit: An Unexpected Journey (2012): Peter King, Rick Findlater, Tami Lane

Best Achievement in Music Written for Motion Pictures, Original Score

WINNER

Life of Pi (2012): Mychael Danna

Other Nominees:

Anna Karenina (2012/I): Dario Marianelli

Argo (2012): Alexandre Desplat

Lincoln (2012): John Williams

Skyfall (2012): Thomas Newman

Best Achievement in Music Written for Motion Pictures, Original Song

WINNER

Skyfall (2012): Adele, Paul Epworth("Skyfall")

Other Nominees:

Chasing Ice (2012): J. Ralph("Before My Time")

Les Misérables (2012): Alain Boublil, Claude-Michel Schönberg, Herbert Kretzmer("Suddenly")

Life of Pi (2012): Mychael Danna, Bombay Jayshree("Pi's Lullaby")

Ted (2012): Walter Murphy, Seth MacFarlane("Everybody Needs a Best Friend")

Best Achievement in Sound Mixing

WINNER

Les Misérables (2012): Andy Nelson, Mark Paterson, Simon Hayes

Other Nominees:

Argo (2012): John T. Reitz, Gregg Rudloff, José Antonio García

Life of Pi (2012): Ron Bartlett, Doug Hemphill, Drew Kunin

Lincoln (2012): Andy Nelson, Gary Rydstrom, Ron Judkins

Skyfall (2012): Scott Millan, Greg P. Russell, Stuart Wilson

Best Achievement in Sound Editing

WINNER

Skyfall (2012): Per Hallberg, Karen M. Baker

Zero Dark Thirty (2012): Paul N.J. Ottosson

Other Nominees:

Argo (2012): Erik Aadahl, Ethan Van der Ryn

Django Unchained (2012): Wylie Stateman

Life of Pi (2012): Eugene Gearty, Philip Stockton

Best Achievement in Visual Effects

WINNER

Life of Pi (2012): Bill Westenhofer, Guillaume Rocheron, Erik De Boer, Donald Elliott

Other Nominees:

The Avengers (2012): Janek Sirrs, Jeff White, Guy Williams, Daniel Sudick

The Hobbit: An Unexpected Journey (2012): Joe Letteri, Eric Saindon, David Clayton, R. Christopher White

Prometheus (2012/I): Richard Stammers, Trevor Wood, Charley Henley, Martin Hill

Snow White and the Huntsman (2012): Cedric Nicolas-Troyan, Phil Brennan, Neil Corbould, Michael Dawson

Best Documentary, Feature

WINNER

Searching for Sugar Man (2012): Malik Bendjelloul, Simon Chinn

Other Nominees:

5 Broken Cameras (2011): Emad Burnat, Guy Davidi

The Gatekeepers (2012): Dror Moreh, Philippa Kowarsky, Estelle Fialon

How to Survive a Plague (2012): David France, Howard Gertler

The Invisible War (2012): Kirby Dick, Amy Ziering

Best Documentary, Short Subject

WINNER

Inocente (2012): Sean Fine, Andrea Nix

Other Nominees:

Kings Point (2012): Sari Gilman, Jedd Wider

Mondays at Racine (2012): Cynthia Wade, Robin Honan

Open Heart (2013): Kief Davidson, Cori Shepherd Stern

Redemption (2012/V): Jon Alpert, Matthew O'Neill

Best Short Film, Animated

WINNER

Paperman (2012): John Kahrs

Other Nominees:

Adam and Dog (2011): Minkyu Lee

Fresh Guacamole (2012): PES

Head Over Heels (2012): Timothy Reckart, Fodhla Cronin O'Reilly

The Simpsons: The Longest Daycare (2012): David Silverman

Best Short Film, Live Action

WINNER

Curfew (2012/I): Shawn Christensen

Other Nominees:

Asad (2012): Bryan Buckley, Mino Jarjoura

Buzkashi Boys (2012): Sam French, Ariel Nasr

Death of a Shadow (2012): Tom Van Avermaet, Ellen De Waele

Henry (2011/III): Yan England