"Prometheus" marks end of arrival for Michael Fassbender

I always feel robbed when an indie film star finally hits a stride of mainstream hits, and very quickly ceases to be mine. Michael Fassbender wasn't a cinder of non-existence at the start of last year, having had plenty more than memorable roles in the few years prior. His winning single-chapter stint in "Inglourious Basterds" was my first brush with the transformative actor, playing a charismatic connoisseur of cinema. Indeed he has taken in cinema of a rather wide branch, from his less known, but far more devastating work on films like "Hunger" and "Fish Tank", Fassbender is now one of the latest exciting commodities in mainstream film.

"Prometheus", which released recently to high buzz followed by declining critical and box office returns, does mark a certain climax in terms of this massive arrival party for Fassbender. It seems all too appropriate, given he's playing a corporate robot of massive intellectual properties who defies rational behavior to achieve his goals. The fact that Fassbender has had such a dynamite reception as of recent is some kind of oddity, though he has honestly been silently paving the way for a boom of activity that rushes him into the public interest. His work in mainstream cinema actually goes all the way back to 2007.

And Here We Go: Final Oscar Predictions

In officially nailing down my final predictions, or in other words, the bets I'm going to be calling on Oscar night, I realized something rather fortunate. In the context of most of these categories, I'm rather fine with the winners. I rather love "The Artist", for all its wit and mindful pastiche, and it certainly stirred emotions in me a great deal more than any of the other contenders this year. I'm sure there are categories in which I'd rather "The Artist" win, but I don't have it down. The primary one, for me anyway, is cinematography, but I'm going to play the optimist in saying that the faith so many have put on "The Tree of Life" all season hasn't been wasted.

But I even have "The Artist" down for Original Screenplay, echoing the choice the BAFTAs made. I imagine that they're not going to look too superficially at it as undeserving because it's a silent film. And yes, I'm assuming "Midnight in Paris" will go home emptyhanded. Much as I enjoyed it, that's something I expect to happen. The performance categories are irreversible at this point, almost depressingly so in terms of that search for surprise. But let's reflect, shall we? This year, 82-year-old Christopher Plummer, who had not been nominated until last year, will receive his first, and deserving, Academy Award.

It'll be the first time two black actresses win in the same year, the second time two black performances win in the same year, but the first time the two winners would be from the same film. The first time was between Forrest Whitaker of "The Last King of Scotland" and Jennifer Hudson of "Dreamgirls". I don't mean to make it seem like more than it is, but this year is distinctly less prejudicial against race, age, or nationality. After all, a French comedy filmed silent and in black and white is about to sweep the major categories, and land Jean Dujardin with an Oscar. Maybe it's worth noting it as the first time a French man wins Best Actor. I think it is.

OSCAR 2011 PREDICTIONS: Costume Design

Alright, let's get back to this grind of ours, shall we? The Academy branch sure likes it when there things are pretty to the point of making one gag. Is it ever to a purpose. I'd like to think that "Jane Eyre" being here is a show of good faith. If there's anything that isn't up for debate about that one, it's the wear of the characters. Unfortunately, I doubt that will happen. It could, and that's a very lively possibility. But then again, so is that "W.E." walks away with it, which I think we all believe is a worst case scenario. It would be a new low for them to award more towards "W.E." than they awarded towards... any film that got snubbed wrongfully this year.

Thankfully, I don't think that will happen. There are plenty others to steal the focus, even if they really shouldn't. "The Artist" and "Hugo" seem to be the two main contenders, as both are the main contenders for Best Picture, as of this moment anyway. If "Hugo" wins, everyone will inevitably start bandying about a "Hugo" night. If "The Artist" wins, things settle back into the way they were before. And if "Anonymous" wins... Oh, let's please be serious. There's no way in hell that is ever going to happen. It'd be cool, because those outfits are very flamboyant and obvious, but still very fun. At least they have a sense of humor.

AWARDS 2011: Annual WGA No-Want List

It's that time of year again, when the Writers Guild of America decides to be prissy little bitches and kick out any film that doesn't abide by their numerous and illogical rules. As such, they aren't a truly reliable precursor in the Oscar fray, and they actually serve just to alienate themselves from the rest of the awards season. But it's still worth some interesting conversation on who didn't make the cut this year. The most high profile film is probably "The Artist", which makes sense on the grounds that that might've been a slim screenplay based on the lack of dialogue. But there's also no sense in the numerous other films to be kept out the competition.

In the original screenplay field, "The Artist", "Beginners", "The Iron Lady", "The Lady", "Margin Call", "Martha Marcy May Marlene", "Melancholia", "Rango", and "Take Shelter" were shelved. In the counterpart adapted field, "Albert Nobbs", "Carnage", "Jane Eyre", "My Week with Marilyn", "Sarah's Key", "The Skin I Live In", and "Tinker, Tailor, Soldier, Spy" got the shaft. While it doesn't much shake the latter race, it does make us wonder what's left for the former. The Best Picture contender most likely to make it in for Original Screenplay here would probably just be "Midnight in Paris". Hell, I'd count on that for the win. Adapted Screenplay, it's pretty much the same game as it was before.

AWARDS 2011: "Tinker, Tailor" Dominates BIFA Nods

Continuing the slow unveiling of film award nominations, the British Independent Film Awards have happily added to the pot. It's a nice array of films that you should get jotted down before the year ends, and I've already gotten off to a solid start with two films in the top race already seen. Two films in particular have prevailed in the nominations above the others, though it's still mostly the same central players. "Senna" is the standout documentary nominee, and a well earned one in my own opinion. "Tyrannosaur" and "We Need to Talk About Kevin" are also strong points of interest, gaining their fair share of nods as well. I'd be very happy to see the latter get the lion's share of praise.

However, the top players here are "Tinker, Tailor, Soldier, Spy", which dominates the performance categories, and "Shame", which picks up more than a few technical nods here. I'd love this to be the start of a surprise awards run for "Shame", but lets face it. That's probably not going to happen. It'll be a wonderful miracle for Fassbender to get nominated in the endgame for Best Actor. I'd consider this to be a sort of outcast lineup, with Mia Wasikowska ("Jane Eyre") and Brendan Gleeson ("The Guard") rounding out the lead actors, and "Drive" picking up a foreign independent nod amongst "Pina" and "A Separation".

BEST BRITISH INDEPENDENT FILM

• "Senna"
• "Shame"
• "Tinker, Tailor, Soldier, Spy"
• "Tyrannosaur"
• "We Need to Talk About Kevin"

Film Review: Jane Eyre [2011] (**)

I have a very serious problem with costume dramas, in that most of them cause me to hate the very soul of England's history. Some of them have occasionally worked for me, like Joe Wright's 2007 film Atonement, but more often they are coldly executed with barely an inch of flair or liveliness. I had hoped that Jane Eyre would not be something like that. The trailers put forth the idea that it would be a passionate piece starring Mia Wasikowska and Michael Fassbender, two actors whom I respect very deeply. As I settled into the start of the film, I came to terms with the fact that this wasn't the case.

The film follows the painful and depressing life of Jane Eyre, whose life is put in disarray through the cruelty of cousin and aunt. She's sent off to a cruel school where she is punished and scorned for no real reason. Case in point, she drops her tray one day, and is then shunned by the rest of the school, all except one kind girl, obviously. The depressing atmosphere of her situation is overly infectious, and it's impossible to be entertained or impressed with the film. As she gets older, she leaves the school in favor of life as a governess at Thornfield, a mansion owned by the mysterious and powerful Edward Fairfax Rochester.

Open Thread: Deafened by Doldrums

I cannot say that 2011 is completely devoid of quality, because that's just not true. There is quality out there, but it's just not being shown to the general public. About a month ago, a little film called Cedar Rapids came out to favorable reviews, and I was eager in anticipation for it to expand from its initial limited release. That hasn't happened yet, and I expect it will probably head to DVD before it does. It's such a shame, because this seems like the perfect time to expand to a wider audience. We've gone through two solid months of settling for mediocre quality features, Justin Bieber, and a legitimately entertaining Ashton Kutcher film. No Strings Attached has no right to be legitimately entertaining, and it wouldn't be if we had a greater film to hold in stark contrast.

We have a similar predicament this weekend, with Red Riding Hood, Mars Needs Moms, and Battle: Los Angeles holding massive box office prospects, but minuscule critical value. It's almost as if Jane Eyre isn't even heading to theaters, which in the grand scheme of things, it isn't. It's only opening in four theaters this weekend, and though it should be a hit with audiences who happen to live in the right area, I doubt it'll go on to a wide release. The only film heading to wide release anytime soon that I know will be great is Paul, but of course it pales in comparisoj to the limited release of that week, which happens to be my most anticipated film of this month, Win Win.

What's the use of releasing quality films in this time of the year if nobody sees them? I know it seems like I'm going on a pointlessly aggressive rant, which I am, but I can't be the only one complaining about the lack of quality. It's depressing how so many people in the business have no idea how to make thought provoking cinematic entertainment. I understand how it happens, because if you've been to any college film production class, you've had to sit through some films that came off as formulaic, stilted, poorly made, or just plain stupid. Somehow that's enough to earn a passing grade, and eventually easy acceptance to the industry. This isn't so much about making a request, as it is about defining the general state of mind at this moment. Please comment below on your own thoughts on this topic, be it in agreement or disagreement. Just let loose on what you've thought of the films to be released thus far this year.

For Your Anticipation: A Mere Conventional Impediment

Apparently there have been several screen adaptations of Jane Eyre, which doesn't exactly surprise me. It seemed like the sort of film that would have been adapted already. Fortunately enough, this is the first of them that I've heard of, and it looks sublime. Even if I'm unable to gather exactly what the characters are saying at certain points, Mia Wasikowska and Michael Fassbender are more than capable of filling the void through emotional implicity. They're two of my favorite actors as of this very moment, which puts me ahead of the curb. They're just an edge away from stardom, Fassbender especially. The director could mean less to me, because it only takes a competent job to put this material forward, which is the sort of thing I expect. Even though I still haven't a clue how this unfolds, Jane Eyre is the film I'll be eagerly pining over while it's in limited release.

Films To See In 2011: March

At the start of every month, I tell myself that it's going to be better than what we were saddled with last month. That hasn't really been working for me lately, seeing as the closest January brought us to real quality was No Strings Attached, and the top film out in February happens to come from Justin Bieber. That's meant to be a compliment, because unlike most people on the planet, I don't hate Justin Bieber. I have better things to do with my time than hate a 15 year old kid who never did anything wrong to me. Getting back on track, I genuinely believe this month will be a step in the right direction. There are some films that I'd have liked to put on this list, but just didn't make the cut. The Adjustment Bureau looks like it could be another great film for Matt Damon, Paul looks absolutely hilarious, and features like Sucker Punch and Battle: Los Angeles look like well produced action spectacles. I just found myself most anticipating of three somewhat unlikely films.

#3."Beastly"
Directed by Daniel Barnz

A surprise, I am sure this is going to come as, but I can't remember a point in which I didn't think this was going to be a good film. I know that it has a supporting cast that includes Mary-Kate Olsen and Vanessa Hudgens, of all people, but I remember when Hudgens was set to appear in Bandslam a few years back. Nobody thought that would turn out well, and it turned out great. Beastly truly looks like a sweet and somewhat enjoyable twist on the tale of Beauty and the Beast. This could be the true breakout role for Alex Pettyfer (I Am Number Four), or else just another film worth seeing for Neil Patrick Harris.

#2."Jane Eyre"

Directed by Cary Fukunaga

I wasn't exactly sold on this one so instantly, but before the trailer came out, I had a hard time seeing the down side. It's a pretty well-known story, though I haven't ever found the time to read it, and the film features two of my favorite up-and-coming actors of this era. If you're familiar with this sight, you'll know how much I've appreciated Mia Wasikowska's work over the few months, and Michael Fassbender immediately struck me when he appeared in Inglourious Basterds nearly two years ago. I knew that this guy was going places. The first trailer was a bit mysterious for my tastes, and I had no idea what to make of this film. However, given the tone and writing of the footage I've seen, I think Jane Eyre could be the rare old-British drama that actually works. I'm certainly hoping for that outcome.

#1."Win Win"
Directed by Thomas McCarthy

Inevitably the film that I am 100% assured of is from Thomas McCarthy, who is fashioning a resume that paints him to be the Christopher Nolan of indie dramedies. By that, I mean that his track record thus far is impeccable, which I can't say is too stupefying since this is only his third film. Still, the man has done some great work in the recent past, and he's also partially responsible for the screenplay for Up. My anticipation for this film is do only partly to the director's craft, because it also features a clean shaven (kinda) Paul Giamatti in the lead role. The plot of a failing lawyer and family man moonlighting as a high-school wrestling coach who takes in a talented teenager doesn't strike as classic off the bat, but it's off-kilter enough to be more than just nothing. This could be McCarthy's best yet, and Giamatti could be looking at his second Academy-Award nomination. Maybe my hopes are a bit too high, but I really want Win Win to be a major win.

Theatrical Trailer + Poster: Jane Eyre

Consider me completely confused, but oddly intrigued here. I think everyone on earth has at least heard about Jane Eyre, but never actually read it, so I have no idea what to make of all this. I find the film interesting because it stars Judy Dench, Michael Fassbender, and Mia Wasikowska, who have all made a positive impression with the work they've done. Fassbender's character in Inglourious Basterds really put him on the map, just because he had such great lines. We always took him as the intellectual Brit, so I can't wait to see what he does with such dramatic roles as this. All the same, I have absolutely no idea what's going on in this trailer. The poster is nice and all, but the light white/blue filter is the only thing that makes it such. Easiest thing in the world to duplicate.