Movie Review: 3 Days to Kill

3 Days to Kill
Directed by:  McG.
Written by: Adi Hasak & Luc Besson.
Starring: Kevin Costner (Ethan Renner), Amber Heard (Vivi Delay), Hailee Steinfeld (Zoey Renner), Connie Nielsen (Christine Renner), Tómas Lemarquis (The Albino), Richard Sammel (The Wolf ), Marc Andréoni (Mitat Yilmaz), Bruno Ricci (Guido), Jonas Bloquet (Hugh), Eriq Ebouaney (Jules).

Kevin Costner is at his best when he doesn’t seem to be trying too hard. For a while – mainly in the 1990s – he was trying way too hard, and coming out with one horrible movie after another. Yet every time you wanted to write him off, he’d come out with a film like A Perfect World (1993) or Tin Cup (1995) and remind you why he became a movie star in the first place. He has certainly been less busy in the past decade, but for the most part he chosen projects that put his easy charm to good use – his directorial effort Open Range (2003) – one of the best recent Westerns, The Upside of Anger (2004), as a former baseball player with a drinking problem, the ridiculously entertaining Mr. Brooks (2007), the low key comedy Swing Vote (2008) – and even supporting roles in bigger films like Man of Steel and the recent Jack Ryan: Shadow Recruit. Costner doesn’t seem to be trying to get you to like him in these movies – and that’s precisely why you do.

Costner is pretty much the only good thing about 3 Days to Kill – another of producer/writer Luc Besson’s Europe set action movies that tries ridiculously hard to tell an incoherent plot, and mix it with humor. In many ways, 3 Days to Kill resembles the Taken movies that Besson had a hand in, and made Liam Neeson into an unlikely, aging action star. I actually think 3 Days to Kill is better than either of the Taken movies – but then again, I hated both of them, so that’s not saying much. 3 Days to Kill is just as ridiculous as either Taken movie and really a fairly bad movie in its own right. But at least it doesn’t take itself so seriously – and benefits from Costner’s undeniable charm.

Costner plays Ethan Renner, a CIA lifer who in the film’s opening action sequence is in Serbia to arrest a terrorist known as The Albino, who works for another terrorist known as The Wolf. Things don’t go well, but Ethan still looks like he’s going to either arrest or kill The Albino – that is until he is stricken with some sort of debilitating illness and collapses. Waking up in the hospital, he discovers he has brain cancer, and has 3 months to live “maybe 5” his doctor tells him before advising him to get his affairs in order and thanking him on behalf of the CIA for his service.

So Costner heads “home” to Paris – only to find a family of African immigrants squatting in his flat – used mostly for comic effect – which he cannot get rid of, because “squatters have rights in the winter months”. He then calls his estranged wife Christine (Connie Nielsen), and tries to win back her affection – as well as the affection of his now teenage daughter, Zoey (Hailee Steinfeld), who he hasn’t seen in 5 years. Amazingly, after just one day, when Nielsen is called away on business, she leaves Ethan in charge. At the same time, he has been contacted by Vivi (Amber Heard) – a CIA operative herself – because she needs his help identifying and eliminating The Wolf. If he does that, she’ll give him an experimental drug that could cure him. It could also kill him though if his heart rate goes up too much. But drinking vodka will help for some reason.

The plot is both ridiculously convoluted and completely arbitrary. The movie doesn’t really care about its two villains – The Albino or The Wolf – until it needs them for the finale which will involve, of course, chases and gunfights – and if they can set those against a rave and techno music, all the better. Basically, the movie is made up of scenes of Ethan torturing lower level thugs employed by the two, and then asking them for their help in parenting Zoey. These are alternated against scenes of Costner trying to parent Zoey – who for the most part seems like a smart kid – that is until she sneaks out to go to a club, is almost assaulted in the bathroom, and has to be rescued and carried out The Bodyguard style by Ethan.

Directed by McG (Charlie’s Angels), 3 Days to Kill is both a needlessly violent action movie, a rather lame comedy, and an even lamer father-daughter bonding movie. Strangely however, it’s the father-daughter stuff that works the best – mainly because even if it’s completely ridiculous, Costner and the talented young Steinheld (from the Coen’s True Grit) are quite good together and sell their scenes together. They shouldn’t work, but they kind of, sort of do – even if the film’s view of teenage girls and sexuality is hopelessly dated and in the few moments where Costner and Steinfeld’s scenes turn almost creepy.

I also have to say I looked forward to each and every scene Amber Heard was in – if for no other reason than to see what ridiculous wig she would don next (she seems to have an endless supply). Her character is so strange, so almost surreal, and seemingly so different from her first scene in the movie (the only time she isn’t with Costner in a scene) – I keep expecting them to reveal something more about her character – like she was a figment of Costner’s cancer ridden brain – especially in a strange scene where she is bathed in red light – but alas, she is seemingly just a crazy, hot femme fatale with an unlimited wig budget supplied by the CIA. I guess there are worse ways to use Heard in a film.

3 Days to Kill never comes close to being a good movie. It comes closer to being a guilty pleasure as the film is so ridiculous you sort of have to admire the film for being this brazenly stupid (the filmmakers have to know the film is stupid. Right?). In the end however, 3 Days to Kill doesn’t really work on any level – it tries to do too much, and as a result anything about the film that works is drowning in the rest of crap that surrounds it.

2013 Oscar Winner Predictions: Directing and Writing

Yesterday, I looked atht e"below the the line categories - tomorrow will be acting, Thursday, Best Picture, but today is directing and writing.

Director
5. Alexander Payne, Nebraska
For Him: At some point, Payne will probably win a Best Director Oscar. He already has two screenplay wins, and he has been nominated here on three straight films. They clearly love him.
Against Him: This just isn’t his year. He needed a breakthrough at some point, and it just never happened for him. So for the third straight time, we say wait until next time Alex.

4. Martin Scorsese, The Wolf of Wall Street

For Him: He’s Martin Scorsese! Yes, he has won before, and the others haven’t. But he is a living legend, and they clearly love him. The supporters of his film are passionate, and they’ll vote for him no matter what.
Against Him: Like Payne, it isn’t his year. He has not really been able to challenge the top three anywhere, and I don’t expect that to change on Oscar night.

3. David O. Russell, American Hustle

For Him: Three nominations in this category in just 4 years? It’s happened for Russell, who has gone from troublemaker to beloved insider in just a few years. To some, he’s way overdue a prize – and that may make him a vote siphoner from the two perceived frontrunners.
Against Him: Is anyone really going to say his work is in the same league as McQueen and Cuaron? Didn’t think so.

2. Steve McQueen, 12 Years a Slave

For Him: A highly respected filmmaker who has crafted a visually stunning film on a hugely important subject. It’s an embarrassment to the Academy that a black filmmaker has never won the best director Oscar and this could correct that. I think his film wins Best Picture, which usually means a Director Oscar.
Against Him: Is Cuaron’s technical achievement on Gravity just too much for the Academy to ignore, even if they award McQueen’s film? It was to the Globes and the Broadcast film critics and the BAFTAs.

1. Alfonso Cuaron, Gravity

For Him: He has crafted a technically dazzling film – obviously the single greatest technical achievement of the year. Even when something else wins Picture, he seems to be the choice for Best Director. He was respected before this film, but Gravity has vaulted him into the atmosphere (sorry).
Against Him: Do they like the film enough to give it best picture? Do they think his achievement is so much greater than McQueen’s that they’ll give him director, but still gives 12 Years Best Picture?

Who Will Win: The winner of the DGA award almost always takes Best Director – that was Cuaron, so he’s the safe bet - but I cannot shake the nagging feeling that McQueen is going to come from behind.
Who Should Win: Steve McQueen – it’s great direction, that so easily could have gone wrong in any number of ways, but doesn’t.

Least of the Nominees: David O. Russell. Sorry, it’s true. American Hustle was a mess.

Adapted Screenplay

5. Before Midnight - Richard Linklater, Julie Delpy, Ethan Hawke
For Them: This is the trio’s second nomination for their trilogy about young lovers who eventually start to get old. It is a singular achievement in American moviemaking, and deserves some love from the Academy.
Against Them: The screenplay nomination is that love. They haven’t nominated it for anything else, so they’re out of luck as winners.

4. Captain Phillips - Billy Ray

For Him: A tight, taut thriller that actually has more to say that it first appears. This type of screenplay is a lot harder than it looks.
Against Him: It probably doesn’t have the memorable moments they are looking for. Wins in this category typically go to films in contention for the big prize – and Captain Phillips really isn’t.

3. The Wolf of Wall Street - Terence Winter

For Him: A dizzying high wire act of a screenplay, that stretches on and on with one scene of excess after another. There are people in the Academy who LOVE this movie – and it’s not likely to win anywhere else, so perhaps it gets votes here.
Against Him: There are also people who HATE the film, and will vote for anything else rather than this one. From the beginning, Scorsese has reaped the praise for this film, and Winter has often not been mentioned.

2. Philomena - Steve Coogan and Jeff Pope

For Them: This is a chance to award the films star, Steve Coogan, for the movie in general. This is the safe choice for older Academy members – who really did seem to love this film.
Against Them: The film isn’t really in play for any other awards – that hurts its chance of winning here a great deal. Again, you have to be old to vote for this one.

1. 12 Years a Slave - John Ridley

For Him: He took a book from 150 years ago, and made it meaningful to today, while still matching the prose of Solomon Northup in the original. It has a huge cast of characters, and spans over a decade, but does so with ease. Of the three films highly in play for Best Picture, it’s the only one nominated here.
Against Him: Does the Academy respect the film more than love it? It cost Tony Kushner a well-deserved Oscar last year for Lincoln. The good news for him is there is Argo nominated here.

Who Will Win: 12 Years a Slave really doesn’t have much to worry about here.
Who Should Win: The Wolf of Wall Street truly is awe inspiring, risk taking work.
Least of the Nominees: To me, Philomena was an average script elevated by great work by Judi Dench and Steve Coogan (in front of the camera).

Original Screenplay

5. Blue Jasmine - Woody Allen
For Him: He’s Woody Allen. He can do whatever he wants, and they still give him awards. He’s never shown up, and it doesn’t bother them. He created one of the most memorable roles of the year in Jasmine.
Against Him: He just won a few years ago for Midnight in Paris – and he’s the only one who got in for a screenplay for a film that isn’t a Best Picture contender. The ongoing scandal in his life will likely drive away a few voters as well. So he won’t win. Not that he cares.

4. Dallas Buyers Club - Craig Borten & Melisa Wallack

For Them: This was a surprise nomination – most thought it would be The Coens for Inside Llewyn Davis – but the pair snuck in for a film that was surprisingly well liked by the Academy. That could bode well for them.
Against Them: The film is probably on its way to two acting prizes – isn’t that enough for a film that really isn’t a player for Best Picture?

3. Nebraska - Bob Nelson

For Him: He wrote a perfect Alexander Payne screenplay despite the fact he’s obviously not Alexander Payne. The film is obviously well loved and obviously not winning elsewhere. This would be a nice award for the film.
Against Him: He’s a first timer, in a category that has two others who seem overdue. It’s a subtle screenplay, and subtle really isn’t what the Academy awards.

2. American Hustle - Eric Warren Singer and David O. Russell

For Them: Of the three films seriously vying for the Best Picture win, this is the only one nominated here. Russell is unlikely to win Director – and after nominations for Directing The Fighter, writing AND directing Silver Linings Playbook and writing AND directing American Hustle, many will think he should win an Oscar. This is where they can do it.
Against Them: Her has won most of the precursors, so perhaps they’ll go there even if they like American Hustle more as a film. At the end of the year, American Hustle looked poised to pull off a few upsets in the major races – but the buzz has gotten really quiet on the film, and the backlash has come on stronger than for some of the other competitors.

1. Her - Spike Jonze

For Him: He has won some major prizes for the film already – more than any of his competitors – including the Golden Globes, Critics Choice and WGA award and he’s also the director of the film, so it’s a nice way to reward him for doing both on a film they obviously love. Considering he made his film debut in 1999 – with Being John Malkovich, which picked up an Oscar nomination for him, you can say he’s more overdue than Russell.
Against Him: The film skews a little young for the Academy. Some may think Jonze is overdue – but not as much as Russell.

Who Will Win: I think it’s a two horse race – but Her has the edge right now, as its quietly chugged along all season – but the older Academy base may be more comfortable with American Hustle. To me, it's a coinflip.
Who Should Win: Spike Jonze really does step up his game with Her which is easily the most “original” screenplay this year.

Least of the Nominees: To me, Dallas Buyers Club was a good screenplay elevated by excellent acting.

2013 Oscar Winner Predictions: Below the Line Categories

Over the next four days, I will post my Oscar Predictions. Today, it’s the “Below the Line” Categories, tomorrow will be Directing and Writing, Wednesday Act, and Thursday Best Picture.

It’s insulting to call all these categories “Below the Line” – but I’m not sure there’s another name for it, so that’s what I’m call them. Essentially, this is everything that isn’t Picture, Director, Acting or Writing – save the shorts, because I didn’t get a chance to see them this year, so I’m not predicting them (it would be a crapshoot even if I did seem them, and an even bigger one since I didn’t). These categories all merit respect for the artists who get nominated and win these awards – but unfortunately they don’t get much other than by Oscar watchers and film buffs. They usually make up the long middle section of the show when casual viewers get bored, and the winners get about 20 seconds before the Jaws theme plays them off. That’s too bad, but it’s the reality of the show. Basically, I list them for least likely to win, to most likely, and then will give my reasons why below. The rest of the categories throughout the week will have more detailed analysis. Anyway, here they are.

Animated Feature Film

5. Ernest & Celestine
4. The Croods
3. Despicable Me 2
2. The Wind Rises
1. Frozen

Who Will Win: While I think the narrative of Disney’s epic comeback with Frozen is a little overblown (Tangled was better), there’s no real denying it exists, and that the film will be swept to victory because of it – unless the Academy decides to give a final Oscar to the greatest animator of all time in Hayao Miyazaki – but the buzz on that one seems pretty much non-existent at this point.
Who Should Win: It was a weak year for animation, but The Wind Rises, would be a fitting choice to win this award pretty much any year.

Least of the Nominees: How the hell anyone could watch The Croods and decide it’s better than the delightful Monsters University is beyond me.

Documentary

5. Dirty Wars
4. Cutie and the Boxer
3. The Square
2. 20 Feet from Stardom
1. The Act of Killing

Who Will Win: This is always a tough race, because the Academy often goes their own way and ignores the critics (which they already did by shamefully omitting Sarah Polley’s Stories We Tell). Since it has won the most precursor awards, I’ll go with The Act of Killing  - although I can make a case just as easily for 20 Feet from Stardom, which is the audience pleaser in the bunch or The Square, which feels important, and doesn’t have the controversy that The Act of Killing has. Basically, I'm saying it's a tossup.
Who Should Win: The Act of Killing was the best doc of the year – and the best doc nominated by a long shot.

Least of the Nominees: I liked Dirty Wars enough – it just feels like something I’ve seen before and done better.

Foreign Language Film

5. The Missing Picture -Cambodia
4. Omar - Palestine
3. The Hunt - Denmark
2. The Great Beauty - Italy
1. The Broken Circle Breakdown - Belgium

Who Will Win: A tough one to call, since you’re never quite sure which way they will go here. Typically, you are safe going with the film that feels most like a Hollywood film – but that could be either The Broken Circle Breakdown or The Hunt. If the critics voted, it may well be The Great Beauty or The Missing Picture (but they don’t). I’ll go with The Broken Circle Breakdown but I have zero confidence in that pick, so it will probably end up being Omar – the only one I didn’t already mention.
Who Should Win: I feel like I’m at a major disadvantage here, since everything I have heard about The Missing Picture and Omar suggest that either one may end up being my favorite once I get a chance to see them. So with that major exception noted, I’ll say of the other three, I liked Belgium’s The Broken Circle Breakdown the best.

Least of the Nominees: I know many loved Paolo Sorrentino’s The Great Beauty – and although I am usually a fan of his work, I wasn’t this time.

Cinematography

5. The Grandmaster - Philippe Le Sourd
4. Inside Llewyn Davis - Bruno Delbonnel
3. Nebraska - Phedon Papamichael
2. Prisoners - Roger A. Deakins
1. Gravity - Emmanuel Lubezki

Who Will Win: Since 2009, Visual Effects and Cinematography have gone hand-in-hand, and while I don’t like this new tradition that much, it would be silly to bet against Gravity continuing it. Besides, it is stunning work, and it’s almost embarrassing that Lubezki doesn’t have an Oscar by now (it’s hugely embarrassing Deakins doesn’t have one – but he’ll once again be the bridesmaid and not the bride on Oscar night).
Who Should Win: Bruno Delbonnel’s work on Inside Llewyn Davis was far and away my favorite of the year – although I almost don’t want it to win, since it would mean the Academy finally gives a Coen brothers movie a richly deserved cinematography Oscar – for one of the few not shot by Deakins.

Least of the Nominees: It is all wonderful work, and I don’t really want to pick a “least of”, so I’ll cheat and not do so.

Costume Design

5. The Invisible Woman
4. The Grandmaster
3. American Hustle
2. 12 Years a Slave
1. The Great Gatsby

Who Will Win: This is a tough three way race, and honestly I have no real idea where this one is going. I’m betting on The Great Gatsby. Here, more than most, they often go with the prettiest clothes, whether or not it’s a Best Picture nominee – and that’s Gatsby.

Who Should Win: I am not a huge fan of the film, but the costume in The Great Gatsby were absolutely stunning.
Least of the Nominees: I’ll go with The Invisible Woman – which is still fine work, but it’s also the type of costume drama they nominate without thinking, which I don’t really like.

Film Editing

5. Dallas Buyers Club
4. 12 Years a Slave
3. American Hustle
2. Captain Phillips
1. Gravity

Who Will Win: It is probably going to take many tech prizes without the Academy thinking too hard about it – so I’ll go with Gravity. However, I could see anything except Dallas Buyers Club winning – if 12 Years a Slave or American Hustle take the prize, it could well be a sign that the film will win Best Picture – but Greengrass’ films have won here before, so beware of Captain Phillips – it may be their only chance to award the film.
Who Should Win: I could make a case for Gravity or Captain Phillips easily, but I’ll go with 12 Years a Slave which has masterful, subtle work here – especially since everything I would have nominated didn’t make the cut.

Least of the Nominees: American Hustle. I know it sounds like I’m picking on the film a lot in this post – and I guess I sort of am – but I really thought the editing of the film was a complete and utter mess.

Makeup and Hairstyling

3. Jackass Presents: Bad Grandpa
2. The Lone Ranger
1. Dallas Buyers Club

Who Will Win: I have a feeling the Academy will not want to give Oscars to either Jackass movie or what was considered one of the biggest bombs of the year in The Lone Ranger – which leaves Dallas Buyers Club as your default winner.
Who Should Win: It is subtler work than the other two, but I will go with Dallas Buyers Club, which is realistic and effective.

Least of the Nominees: To be honest, all the work in this category was stellar – even if the films themselves are not. Perhaps The Lone Ranger?

Production Design

5. Gravity
4. Her
3. American Hustle
2. The Great Gatsby
1. 12 Years a Slave

Who Will Win: I think this is a very interesting race, and I think all five nominees are going to have their supporters. I think though that 12 Years a Slave needs to win at least one below the line category, and to me this seems like the safest bet.
Who Should Win: It is the type of work that never wins, but to me the work on Her truly is exceptional and helps Spike Jonze's film immensely by buildings its near futuristic world.

Least of the Nominees: I will go with American Hustle as the weakest – where it is not quite as noticeable as the hair and costumes in re-creating the 1970s.

Visual Effects

5. The Lone Ranger
4. Star Trek Into Darkness
3. Iron Man 3
2. The Hobbit: The Desolation of Smaug
1. Gravity

Who Will Win: Not to insult any of the other nominees, but this one isn’t even close – Gravity is perhaps the biggest lock of the night in this category.
Who Should Win: There is a reason that Gravity is the biggest lock of the night here – it is stunning work, and nothing else comes close.

Least of the Nominees: Probably The Lone Ranger which isn’t quite as impressive as the other nominees,

Original Score

5. The Book Thief - John Williams
4. Her - William Butler and Owen Pallett
3. Saving Mr. Banks - Thomas Newman
2. Philomena - Alexandre Desplat
1. Gravity - Steven Price

Who Will Win: Except for John Williams and his work on The Book Thief and Arcade Fire for Her, I honestly could see this going any which way. Newman and Desplatt are two oft-nominated composers (11 and 6 noms respectively) who are still looking for their first wins, so you can never really  count the sympathy factor out. Still, I think newcomer Steven Price should win this one without much of a fight for Gravity.
Who Should Win: Not the strongest lineup to me, but I will go with the work on Her which was the best of the nominees.

Least of the Nominees: Probably Saving Mr. Banks – which is overshadowed in its own movie by all the music from Mary Poppins.

Original Song

5. Alone Yet Not Alone – Alone Yet Not Alone (Rescinded)
4 Her – The Moon Song
3. Mandela: Long Walk to Freedom – Ordinary Love
2. Despicable Me 2 - Happy
1. Frozen – Let It Go

Who Will Win: Unless the Academy wants celebrities on stage winning awards, Frozen should walk away with this one fairly easily over U2’s song from Mandela, and Pharrell’s song from Despicable Me 2. It doesn’t help that the Academy clearly didn’t like Mandela very much.
Who Should Win: Let It Go from Frozen truly was one of the most memorable musical moments of the year – and given this slate of nominees it is an easy choice.

Least of the Nominees: The Academy should be embarrassed that the song from Alone Yet Not Alone was nominated – but they should not have taken the Oscar nomination away, which simply made them look like hypocrites. Out of the now official four nominees, I’d say the U2 song from Mandela is the weakest.

Sound Editing

5. The Hobbit: The Desolation of Smaug
4. Lone Survivor
3. All Is Lost
2. Captain Phillips
1. Gravity

Who Will Win: This one is locked for Gravity. It probably isn’t even be close.
Who Should Win: As much as I love the work on All is Lost, I still have to go with Gravity on this one.

Least of the Nominees: Probably The Hobbit.

Sound Mixing

5. Inside Llewyn Davis
4. The Hobbit: The Desolation of Smaug
3. Lone Survivor
2. Captain Phillips
1. Gravity

Who Will Win: I really do not see anything really challenging Gravity here. It cruises to victory.
Who Should Win: Gravity is clearly the best work here – even if I also think Inside Llewyn Davis has great work.

Least of the Nominees: For me, it would probably be The Hobbit – its fine work, but not quite as good as the others.

Criticwire Survey: One Guarnteed Oscar Winner, One Disqualification

Q: Due to a security flaw in Price Waterhouse's system, you have the ability to choose one Academy Award winner and disqualify one nominee. Who gets the Oscar, and who goes home empty-handed?

I would give Best Actor to Leonardo DiCaprio for The Wolf of Wall Street for several reasons – not least of which because it is easily the best performance nominated, and it is the type of balls to the wall craziness that never actually wins – a performance that shows the range of DiCaprio (did anyone expect he was that gifted a physical comedian) – and because his winning would be controversial – some HATE the movie, and for the most part the Academy sticks with winners who are safe and inoffensive. Not this time – as I could easily see DiCaprio’s performance make some people’s list of the Best Best Actor Wins of all time, and on others Worst Best Actor Winners of all time.

 

But also because I don’t quite get the narrative being written that Matthew McConaughey is somehow “overdue” for an Oscar. Granted, the last three years has seen a number of excellent McConaughey performances, and I have become an undeniable fan of his. But he has spent most of the past 20 years cruising on his charm and making one shitty romcom and adventure film (sometimes both at the same time as in Fool’s Gold), while DiCaprio has spent almost all of energy since Titanic getting interesting films, by great filmmakers, made and constantly challenging himself. DiCaprio is long overdue for recognition, while as McConaughey has just started to try. Having said all of that, were McConaughey the frontrunner for Supporting Actor for Mud, I wouldn’t be complaining (but then again, they didn’t nominate him for that, now did they).

And at the risk of being labeled a Dallas Buyers Club hater (I’m not), I would banish Jared Leto’s performance from supporting actor. I don’t hate the performance and I have not really decided what my position on the idea that a transgendered actor should have played the role rather than Leto – something I have to admit never donned on me until the controversy erupted – but should have. No, the reason I think I want to banish Leto is because as good as he is I never quite understood why he so completely and totally dominated this category all year long – especially with the likes of Michael Fassbender and Jonah Hill in this race. This should have been an exciting race, but now it's a foregone conclusion. With Leto gone, who wins the category becomes completely wide open – no one would know who would win – and that would inject some excitement into the ceremony – plus it would (likely) go to a better performance (with my luck, they’d give it Bradley Cooper, but lets pretend he’s banished too).

Ranking the Best Picture Nominees of 2003

2003 was a solid yet not spectacular year both for movies and the Oscars. The Academy made respectable choices, if somewhat uninspired. This was also the most anti-climactic race I can recall – almost everyone knew two years before the ceremony what would win.

5. Seabiscuit

Gary Ross’ Seabiscuit is a solid, middlebrow movie that you can easily see the aging Academy members responding to. It mainly plays it safe, and tells the inspiring true story about a how no one believed in, and a jockey, who was blind in one eye, ending up becoming famous – and an inspiration for many during the great depression. Tobey Maguire is fine in the lead role – Jeff Bridges and Chris Cooper are even better in support. There is not much wrong with Seabiscuit – it does precisely what it sets out to do. Personally, I like a little more ambition in movies – something that strives to be somewhat different, and while Seabiscuit doesn’t do that, it does what it does as well as can be expected.

4. Master & Commander: The Far Side of the World

Peter Weir’s Master & Commander: The Far Side of the World was the beginning, and end, of a would be franchise that didn’t make quite as much money as they hoped it would. It’s a shame that it didn’t – because I would have loved to have seen more films about Russell Crowe’s hard driving Captain Jack Aubrey, and his right hand man, who he clashes with at times, played by Paul Bettany. Set during the Napoleonic wars, this is exciting, old school, sea faring excitement done just about as well as it could be done. Perhaps the movie was a little too square, a little too old fashioned for modern audiences - and that’s a shame, because to me, Master & Commander was about as good as these movies get – with great direction by Weir, great below the line work by the crew, and two terrific performances at its core.

3. The Lord of the Rings: The Return of the King (WINNER)

No was surprised during the Oscar ceremony when The Lord of the Rings: The Return of the King swept. Everyone assumed since the original film debuted two years earlier that the Academy would wait until the third installment to properly award the series – they didn’t want to look like idiots and give it to a franchise that went downhill from the first installment on down. All Peter Jackson had to do is not screw-up the second and third installments – and he didn’t. While I think The Fellowship of the Ring is probably the most popular of the three, and to me The Two Towers is the best of the three all three films are the type of big budget, blockbuster entertainment done with intelligence and style that we see all too infrequently these days – even Jackson has had a hard time replicating the success of this trilogy since. As an individual film, I’ll put Return of the King third for the year – as part of the trilogy, which is really what the Academy was voting for, it’s hard to argue against it.

2. Mystic River

Clint Eastwood’s Mystic River continues the path the great filmmaker started years before – in particular with the Oscar winning Unforgiven. Both films look at the causes and effects of violence – albeit in different ways. This is a film about three childhood friends, the event during their childhood that set them on separate paths, and how that event reverberates down through the generations. Sean Penn and Tim Robbins both won Oscars for their performances – long overdue in both cases, and deserving in this year even if neither performance is what you would call subtle. Kevin Bacon, as the third man, is much more subtle – which is probably why he didn’t even get nominated. Eastwood’s film is a haunting one – one that sticks with you long after you’ve seen it. I loved Million Dollar Baby from the following year as well – the one that won Eastwood his second Best Picture and Director Oscars – but I think Mystic River is even better.

1. Lost in Translation

Just about the exact opposite of The Lord of the Rings in every way, Sofia Coppola’s breakthrough film was probably the critical favorite of 2003 – and with good reason. This is a quiet film about two lost souls in Japan – Bill Murray playing a movie star there to shoot a commercial, and Scarlett Johansson as the wife of a famous photographer, left to her own devices. The two bond unexpectedly – and not in the way the audience first suspects. The film is a gentle comedy – not one that makes you laugh out loud throughout, but one that finds humor in its characters, which it slowly lets us get to know and love. Coppola became a critical favorite for this film – and despite the fact she has bashed in some circles for simply repeating herself in the 10 years since, I believe she has continued to do strong work. Is Lost in Translation her best film? Yes – but Somewhere and in particular The Bling Ring deserve more respect. 
What They Should Have Nominated: They found room for City of God in Director, Adapted Screenplay, Editing and Cinematography, but not Best Picture. They completely ignored Quentin Tarantino’s Kill Bill Volume I. Unsurprisingly they also ignored the Palme D’or winning masterwork Elephant by Gus Van Sant. A little more love for American Splendor would have been good as well. And is anyone really going to deny that Finding Nemo is more beloved than most of the Best Picture nominees?

Ranking Hayao Miyazaki

If I had to pick I’d say that Japanese master Hayao Miyazaki is the greatest director of animation in cinema history. His last film, The Wind Rises which I saw at TIFF last year, will go into general release this week. Miyazaki announced it would be his last film – each of the last few films he made took longer and longer the complete and he worried that now that he’s in he is 73 he wouldn’t finish another one. He leaves behind an 11 film resume (and countless shorts, as well as work in TV and manga) – and each of his 11 films has something to recommend them – he really did not make a weak film in his career, although some are obviously better than others. Here is how I would rank his 11 films.

11. The Castle of Cagliostro (1979)

Miyazaki’s debut film is an extension of a television series (which he directed several episodes for), which itself is an extension of a manga series. The film is an exciting action film, in which the main character Lupin, a thief discovers the money he has just stolen from a Monte Carlo Casino are counterfeit, and his pursuit of the truth leads him to a strange castle in the small country of Cagliostro. There really is nothing wrong with the film – it is an exciting film as far as this type of thing goes, with excellent action sequences (including a wonderful chase sequence). And there are hints at what Miyazaki would do later in his other films. But if I value it a little lower than his other work; it’s mainly because it doesn’t much feel like a Miyazaki film. The other 10 films feel more part of a group, with this one being a very entertaining outlier.

10. Kiki’s Delivery Service (1989)

Kiki is a young witch, and like all witches, she has to leave home and live by herself for a year when she turns 13. She flies off to the big city, with her talkative black cat companion, and while there experiences several crisis while trying to deal with normal adolescence, and a crisis of confidence. There is nothing wrong with Kiki’s Delivery Service – it is a beautiful film from beginning to end, and it tells its story with sensitivity. This is a Miyazaki film aimed more at children than adults though – everything here is perhaps a touch too simplistic, everything a little too cute for its own good. I look forward to showing this to my daughters one day, yet it never quite captures the magic of Miyazaki’s best work.

9. Ponyo (2008)

Ponyo is Miyazaki’s version of the Little Mermaid story about a small fish girl, who wants to see more of the world and ends up bonding with a little boy on land. The film is rather simple – it has been made to appeal to young children – and yet there are magical moments in it – not least of which is the wordless opening sequence, under the sea. The love story between what are basically two five year olds is a little strange to say the least – and yet Miyazaki makes it feel genuine. The film is beautiful from start to finish – and shows Miyazaki’s vast imagination and talent in every frame. If I rank it a little lower than most Miyazaki films it’s because like Kiki’s Delivery Service it is perhaps a touch too simple – and yet doesn’t quite have the same magical quality of My Neighbor Tortoro. It comes closer to Miyazaki’s best – but is still a notch or two below.

8. Porco Rosso (1992)

Porco Rosso is a little bit of a transitional film for Miyazaki. Made after two films made undeniably for children (My Neighbor Tortoro and Kiki’s Delivery Service), and before his move to darker, more adult fare in Princess Mononoke, came this film which is somewhat of a blend between the two. It is about Porco Rosso, a WWI flying ace who flew for Italy, who has been cursed to look like a human with a pig’s head. The story is relatively simple and straight forward – between the wars, Porco Rosso makes his living as a solitary bounty hunter of air pirates, until his supremacy is challenged by an American, and the two square off. But it’s themes are slightly more mature than that of his previous films – there is darkness at the edges of Porco Rosso. Porco is a little older than most anime protagonist – he has been worn down by life, by those lost in the war, and his grief over them. This is still a relatively simple film – beautiful animated as always by Miyazaki – but there are signs of where Miyazaki was going to go next in this film, that make it one of his most interesting, if not quite one of his best.

7. Howl’s Moving Castle (2004)

Howl’s Moving Castle looks as beautiful and is as visually inventive as anything Miyazaki has ever done. The title castle – which as the name implies is owned by Howl and moves – is one of Miyazaki’s greatest visual inventions, and the source of never ending discoveries. The story, about a young girl cursed to look like an old woman, who seeks out the title wizard to try and reverse the curse, doesn’t quite live up to the best of Miyazaki’s movies. The story seems more like an excuse to hang his wonderful and exciting animated set pieces on – and when they come, they are truly awe inspiring. But the best Miyazaki movies are more than just a sum of great moments – they are about the perfect fusion of visuals and story, and Howl’s Moving Castle doesn’t quite achieve that balance. It is still light years better than most animated films you will see in any given year – but in terms of Miyazaki’s resume, it’s a notch or two below his best work.

6. Castle in the Sky (1986)

Miyazaki’s love of flying is on full display is this wonderful animated adventure about a young boy who saves a girl who is being chased by pirates, the army and secret agents – and have to race to find a floating castle. As with many of Miyazaki’s earlier efforts, the story here is fairly straightforward – you know where it’s going from the beginning, and it never truly surprises you. Having said that, this ranks among the most beautiful of all Miyazaki movies – and every frame of the film is filled with invention and something wondrous to look at. Miyazaki loves inventing strange machines – and the flying contraptions he comes up with in this film are among his best work. Much of the film is silly – wonderfully so – as the various bad guys are slapstick caricatures – but they work. It is only near the end of the film where Castle in the Sky gets a little more serious – and Miyazaki’s not overly optimistic view of humanity is on display in the final confrontation in that Castle in the Sky. Miyazaki would go on to deepen the themes in this film in later, better, more complete films – but for what it is, Castle in the Sky is still a wonder to behold.

5. The Wind Rises (2013)

Miyazaki’s last film is his least fantastical – it takes place firmly in the real world, and although there are some dream sequences, even they do not contain his usual assortment of magical creatures and machines. Instead, he tells the story of a Japanese aviation engineer who spends his life making beautiful planes – and then watches as the Japanese military uses them as death machines in WWII. To offset this, the film is also a gentle love story between the engineer and the sickly woman he meets – first as a child and then years later. To some, Miyazaki wasn’t hard enough on the engineer, who creates flying death machines. To others, he was a traitor to Japan for calling them too militaristic and questioning what they did in the war. The fact that he angered both sides probably means he struck the right balance. While The Wind Rises isn’t the fantasy masterwork that most of Miyazaki's films are – that doesn’t mean the film isn’t full of wonderfully animated moments and sequences – the earthquake and fire in the first act in particular are stunning – or that this film is any less beautiful than anything else he has ever created. This film is sadder than most however – a fitting note to go out on for the master animator.

4. My Neighbor Totoro (1988)

For a few of Miyazaki’s movies I have pointed out that there are rather simple – and that’s true. Perhaps none of his films is as simple and straight forward as My Neighbor Tortoro, but while I knocked some of the other down a notch or two because of their simplicity, I cannot do the same to this film. Yes it is simple – but its simplicity works in its favor. This is a gentle film about childhood – two sisters with a father who works a lot and a mother in the hospital, who invent some imaginary creatures to help watch over them (or perhaps the creatures are real). There is no false drama here, no bad guys, no action sequences, just a simple film that remembers what it was like to be a child, and get lost in your own imagination for a while in order to protect yourself from the world. It is also one of the most beautiful films ever made – by Miyazaki or anyone else for that matter. While Kiki’s Delivery Service or Ponyo are perhaps too simple, My Neighbor Tortoro gets the balance between simple and profound just about perfect. One of the first films I plan to show my daughters when they gets a little older.

3. Nausicaä of the Valley of the Wind (1984)

Miyazaki’s second feature is clearly the best of his early work – a complex film about a post-apocalyptic world where humanity is threatened with extinction at the hands of the giant insects that live in the jungle that surround their kingdoms. It’s been 1000 years since humanity all but destroyed itself – and the planet – and they have teetered on the brink of extinction since. The story focuses on Nausicaa, who lives in the Valley of the Wind, one of the few places still inhabitable by humans. Eventually, she will come into contact with two different kingdoms – one of whom wants to wipe out the forest and everything in it, and plans on releasing an ancient spirit to do so – a plan Nausicca is against. Like Princess Mononoke, Nausicaa is the story of a strong princess at its core, and also has a serious ecological message behind it. The film’s plot is complex – but never confusing, and the characters are always interesting. There really are no bad guys in the film – just people with differing perspectives. As always, the film is a wonder for the eye from beginning to end –with an amazing array of insects and flying machines, and some great action sequences. Miyazaki would take a step towards more childlike films for more than a decade after making this film – but this is the film that most clearly showed where he was heading – and it is a great film unto itself as well.

2. Princess Mononoke (1997)

Princess Mononoke tells an incredibly complex story – set during the dawn of the Iron Age, which according to the movie is when man and nature started speaking different languages, and threw the balance of power off. It centers on a prince, who we see fight a boar monster with the flesh of snakes and win – but become scarred in the process. He sets out into the forest to discover what caused such a strange creature – eventually meeting the title character – a child raised by a wolf god – and a village that is started work in iron – which gives them one kind of power, while stripping them of their connection with nature. Princess Mononoke is not a simple film – Miyazaki has always resisted such simplistic terms as good and evil – and would rather have complex characters, whose point of view we can understand, even when they are at odds with ours, and one another. He has also created one of the best looking animated films ever created. The story is complex, and has moments of shocking violence – but not in the way some anime is shocking with blood and gore, but because the violence shocks even the participants in the action. This was the first Miyazaki film I ever saw – and remains one of the very best.

1. Spirited Away (2001)

Would Spirited Away get my vote for the best animated film of all time? It just might. Miyazaki made several great films in his life, but none of them really come close to me to Spirited Away. Once again, the story seems rather simple at first – a girl and her parents are on a car trip, when her parent’s actions turn them into pigs, and the girl becomes a servant at a bathhouse – whose clients and staff represent pretty much every type of creature you can possibly imagine – and some you never could. She has her name stolen, and must get it back, or else she’ll be trapped forever. That’s the story – it’s probably the most fantastical and inventive of anything Miyazaki has done – but it’s only a small part of the film’s appeal. The rest of it is the gorgeous animation that fills every frame with images that would be impossible in live action – even with the best CGI imaginable. Miyazaki is not afraid to take his time with the story – in fact he often seems at his best in the film’s quietest moments. If this isn’t the greatest animated film of all time, it certainly ranks right near the top of the list – and for me, is easily the best film Miyazaki has ever made.