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M. Carter’s Oscar nominations (and then some)

As a fledgling movie lover, a burgeoning blogger, I grew up trusting that The Academy as the ultimate and final word on what was good and award-worthy in cinema. Then, somewhere around the time I realized that my parents didn’t know everything, either, I turned a corner and headed down the “Hey, Academy People, You Might Have Petrified White Dog Turds for Brains” Hallway toward the “Wearing a Leopard-Print Wonderbra and Screaming Obscenities at Albert Finney Does Not Translate to Acting Talent” Conference Room. 

(Yes, I am still a little bitter about how the 2001 Best Actress Oscar race played out and please, let’s change the subject before I have to go back to therapy.)

Old grudges aside, the point is that sometimes The Academy gets it right. But more often than not these sorry, sad little people get it wrong. Very wrong. This is why Frank, the Pompous Film Snob himself, asked a number of us movie bloggers to come up with our own nominations for the best of the best in 2010. Find the compiled list here, and peruse my own nominations below.

Best Picture: “Winter’s Bone”; “The King’s Speech”; “Black Swan”; “Restrepo”; “Cairo Time”

Best Director: Debra Granik, “Winter’s Bone”; Darren Aronofsky, “Black Swan”; Tom Hooper, “The King’s Speech”; Tim Hetherington and Sebastian Junger, “Restrepo”; Christopher Nolan, “Inception”

Best Actor: Colin Firth, “The King’s Speech”; Michael Douglas, “Solitary Man”; Jeff Bridges, “True Grit”; James Franco, “127 Hours”; Leonardo DiCaprio, “Shutter Island”

Best Actress: Jennifer Lawrence, “Winter’s Bone”; Hailee Steinfeld, “True Grit”; Natalie Portman, “Black Swan”; Annette Bening, “The Kids Are All Right”; Patricia Clarkson, “Cairo Time”

Best Supporting Actor: John Hawkes, “Winter’s Bone”; Geoffrey Rush, “The King’s Speech”; Jeremy Renner, “The Town”; Christian Bale, “The Fighter”; Ken Watanabe, “Inception”

Best Supporting Actress: Rebecca Hall, “Please Give”; Melissa Leo, “The Fighter”; Amy Adams, “The Fighter”; Dale Dickey, “Winter’s Bone”; Barbara Hershey, “Black Swan”

Best Original Screenplay: “Cairo Time”; “Black Swan”; “Inception”; “The King’s Speech”; “The Kids Are All Right”

Best Adapted Screenplay: “Winter’s Bone”; “True Grit”; “Shutter Island”; “The Social Network”; “The Town”

Best Ensemble: “Inception”; “The Social Network”; “The King’s Speech”; “The Kids Are All Right”; “The Fighter”

Best Cinematography: “Winter’s Bone”; “Black Swan”; “Inception”; “The Social Network”; “The King’s Speech”

Best Score: “Shutter Island”; “Inception”; “True Grit”; “Cairo Time”; “Black Swan”

Best Editing: “Restrepo”; “Predators”; “The King’s Speech”; “The Social Network”; “Winter’s Bone”

Lifetime Achievement Award winners: Richard Jenkins and Ron Leibman (let’s hear it for the underappreciated character actors!)

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“The Town” captures spirit of Boston but overdoes action

Affleck (left) and Renner make for a formidable team of thieves in "The Town."

There’s a strange air of historical reverence and foreboding about Boston that’s singular. Don’t expect anyone to mistake it for New York, Chicago, Los Angeles; Boston exists in a class all its own. And it takes a mighty talent to tease out that energy and make it seem genial enough to draw us in, make us comfortable and ominous and tense enough to keep us breathless. Ben Affleck — the star of “Reindeer Games” and, Lord help us, “Gigli” — is precisely the man for the job. Who knew?

Looking back, the signs were there. In his acting career, Affleck has excelled at playing conflicted souls: Gavin in “Changing Lanes,” George Reeves in “Hollywoodland.” The parts that required him to show up and look dashing were largely forgettable. Turning a director’s camera on the streets of Boston, his hometown, then, seems like a logical step. He proved in “Gone Baby Gone” that it was a brilliant one, too. While “The Town,” with its amazingly filmed car chases, doesn’t soar quite as high as “Gone Baby Gone,” it comes damn close, this time with Affleck tackling the confused protagonist, Doug MacRay.

MacRay is a product of Charlestown, a Boston neighborhood pegged as a breeding ground for bank robbers. In Charlestown, bank robbery isn’t so much a crime as a learned trade. Doug’s father (Chris Cooper), now doing hard time for a job that went sour, served as walking, talking how-to guide. Doug hammered out the finer points with best friend James “Jem” Coughlin (Jeremy Renner) at his side. Now Doug’s the cool head behind a successful bank robbery ring. Success starts to come at a price as Jem, a wild card with a volcanic temper and no scruples, becomes increasingly unpredictable. He’s the reason MacRay’s team takes its first hostage, bank manager Claire Keesey (Rebecca Hall) — a mistake that proves doubly dangerous when they find out she lives just a few blocks from her office. Jem’s eerily content to “take care of her,” but MacRay takes a kinder approach: He chats her up at a laundromat, strikes up a friendship with her and ends up liking her. Affleck displays a blessedly careful touch on the romance angle, letting Claire and Doug’s relationship develop at a slow, unforced pace. Their bond feels delicate but real, and it gives Doug the push he needs to consider leaving Charlestown.

Skipping out, however, won’t be easy. There’s FBI agent Adam Frawley (Jon Hamm sporting a half-hearted Boston brogue), whose team encircles the bank robbers like hungry foxes closing in on a rabbit’s den. Renner’s splendidly unnerving Jem abides his own bizarre moral code and expects Doug to fall in line as well. Charlestown crime boss Fergie (Pete Postlethwaite, the only actor capable of making a florist seem menacing) isn’t keen on Doug skipping out the job, either. The walls are closing in on all sides for Doug, trapped by both his past and his present, and yet Affleck smartly holds back when he could have gone for weepy drama. One thing he doesn’t dial down is the violence. As much as there was in “Gone Baby Gone,” “The Town” has more — so much and so showy that it detracts from the more human storyline of Doug struggling with his loyalty to Charlestown and his desire to leave it in his rearview. The final act of “The Town” involves too many bloody showdowns to count, but there is a marvelous car chase filmed in such a ground-level way that it’s terrifying and captures the claustrophobic feel of Boston’s narrow streets.

Another strong point of “The Town” is Affleck’s ability to write characters that can’t be pigeonholed. Everyone exists in the gray areas. Renner, in an electrifying performance, plays Jem as unpredictable, scary and volatile, but he feels a brotherly protectiveness for Doug. Hamm’s hard-nosed cop has a moral flexibility that lets him to steamroll people to get what he wants. Claire’s anger toward Doug and her affection for him have her in an agonizing stalemate. The moral grayness gets drowned out by the gunfire and it’s underused, but it’s there and it’s powerful. How do you draw the line between “right” and “wrong” when loyalty is involved? Does that line even exist? “The Town” doesn’t answer, but what matters is that Affleck cares enough to pose the question.

Grade: B+

Review: “The Hurt Locker” (2009)

Stand SSG William James (Jeremy Renner) on any grocery store cereal aisle and he’s utterly lost, overwhelmed and frozen with indecision. Put that same man in front of a bomb half-buried under sandy rubble on a Baghdad street and watch his eyes come alive. To call SSG James an “adrenaline junkie,” however, is to suggest he’s fix-focused and remorseless. Renner, coming out of nowhere with a fearless performance, gives this seemingly careless soldier complexity, including a desire to understand his fixation. “You know why I’m that way?” he asks Sgt. JT Sanborn (Anthony Mackie). There’s no real answer for a question like this, James seems to understand, and even if there was, it wouldn’t do anything to kill the adrenaline buzz.

Too often in war films we don’t get characters as human and as layered as SSG William James; instead, we get caricatures — hunky heroes (here’s looking at you, Ben Affleck/Capt. Rafe McCawley) or mouthy wild cards like Robert Duvall’s napalm-loving Lt. Col. Bill Kilgore. With “The Hurt Locker,” director Kathryn Bigelow seems intent on changing that without skimping on the tension, the action or the explosions. Using hand-held cameras, she creates a war film that feels not shaky or low-budget but surprisingly intimate. What this technique can do is perfectly amazing: every grimace, every bullet wound, every bead of sweat gets up-close-and-personal treatment. These cameras transplant viewers to the streets of Baghdad, staring down the barrel of improvised explosive devices (IEDs) wired with enough firepower to KO a city block and everyone in it. Bigelow’s reliance on this technique infuses every frame of the film with nail-biting intensity. When an IED blows, we feel the vibrations and taste the sand. This is war at the hot, dirty ground level.

Yet as impressive as Bigelow’s vision is, it’s scriptwriter Mark Boal’s characters that make “The Hurt Locker” one of the most personal and psychologically intriguing war films ever made. Renner’s SSG James is a commanding figure, but so are his fellow soldiers. James steps in as team leader of the Bravo Company’s Explosive Ordnance Disposal (EOD) unit, and the company members — Sgt. Sanborn and Spc. Owen Eldridge (Brian Geraghty, nicely capturing the anguish of a man not prepared for what he’s seeing), still smarting from witnessing the original team lead’s death — immediately distrust James. He’s reckless to a fault, pulling off his headset to dismantle an IED hidden in an abandoned car. When a cabbie is mistaken as an insurgent and gets roughed up, James is dependably cavalier: “If he wasn’t an insurgent before, he is now.” He doesn’t rely on his team members for intel and charges head-first into unknown situations. Both Sanborn and Eldridge sense a recklessness in their superior that frightens them, and they know James isn’t in this for patriotic reasons. Mackie, a remarkably subtle actor, communicates his wariness and weariness through his eyes; in a later scene with Renner, he is more blunt about his feelings: “I’m not ready to die.”

Renner is alternately fierce and quietly devastating, but never does he shy away from showing us a man acutely aware he has a problem but likes the charge too much to stop. Renner also finds an undercurrent of pride in SSG James, a thoroughly ordinary father/husband (to Evangeline Lily, whose few scenes are poignant) in civilian life but an extraordinary soldier.

At the film’s beginning, Bigelow provides what seems like an ominous warning: “War is a drug.” But by the end of “The Hurt Locker,” New York Times war correspondent Chris Hedges’ quote seems less like an admonition and more like a thought-provoking, very uncomfortable question. In war, Bigelow seems to prompt us, who do we really want on the battlefield — the soldier longing for home whose head isn’t quite in the game, or the reckless fighter who just can’t get enough, the one dashing right into the smoke wearing the grin of a junkie with an empty needle in his vein? Only the boldest director would dare shine a light into that dark corner of the human mind, and only a movie as good as “The Hurt Locker” would make us consider the repercussions of our honest answer.

Grade: A