Stop number two on my 2012 Oscar breakdown involves the more old-school technical categories, the stuff that can’t be done entirely by computer. As you might imagine, these categories tend to be a parade of period pieces with some musicals thrown in. In fact, the final “Harry Potter” film looks to be the only exception to that rule this year.

Best Achievement in Art Direction

• “Midnight in Paris” – Hélène Dubreuil; Anne Seibel
• “The Artist” - Laurence Bennett; Robert Gould
• “Harry Potter and the Deathly Hallows Part 2” - Stuart Craig; Stephenie McMillan
• “Hugo” - Dante Ferretti; Francesca Lo Schiavo
• “War Horse” – Rick Carter; Lee Sandales

Super Bowl weekend tends to be among the worst of the year for the box office, second only to the weekend after Thanksgiving. Yet this year the options are somewhat interesting and shockingly, all three have greater than 50% on Rotten Tomatoes. That’s good news if you’re Daniel Radcliffe, trying out your first film outside the “Harry Potter” franchise in “The Woman in Black.” It’s also looking good for Josh Trank, director of the low-budget superpowers found-footage film, “Chronicle.” And “Big Miracle” appears to be another solid family film. As for if any will make a dent at the box office? Good luck.

Now in Theaters

Chronicle

Directed by Josh Trank
Written by Max Landis and Josh Trank
Starring: Michael B. Jordan, Michael Kelly, Alex Russell

Summary: After a startling discovery, three teenagers develop powers: telekinesis, invincibility and flight. They use them for harmless pranks at first, but as their abilities grow stronger, one of them begins to lose self-control and things get out of hand.

The Word: The found footage phenomenon has finally made its way to the superhero genre in this low-budget story of what your average teenagers would do if they came across extraordinary power. “Chronicle” obviously refers to the fact that this plays like a video diary, but it’s uncertain whether it will take place in chronological order. It’s the first major film for the creators, one of which is Max Landis, son of legendary director John Landis.

Rotten Tomatoes: 87% (great)

My Thoughts: I have to say that I really admire the concept, as this is probably the most lifelike look we’ve had at teenagers coming across superpowers (no offense, Stan Lee). I’m not sure I’m sold on the found footage element, but it allows for that fun low-budget “this might actually be what would happen in real life” feel that made “Cloverfield” an excellent winter season flick (and one of the very best box office-wise, in fact). It sounds like it stays very grounded in the possible, which makes it a gripping diversion. Rarely do you see these kinds of films getting such love, but dorks can rejoice.

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The Woman in Black

Directed by James Watkins
Written by Jane Goldman, Susan Hill (novel)
Starring: Daniel Radcliffe, Janet McTeer, Ciarán Hinds

Summary: A young lawyer visits a remote country town in England where he’s tasked with selling an old house. Turns out it was once home to a woman whose ghost currently terrorizes the locals.

The Word: The title was shortened from “Harry Potter and the Woman in Black” in order to … okay, but all kidding aside, the trailer does open with Daniel Radcliffe on a steam engine going through the country. I mean, come on. I think the actor is capable of moving on from his Hogwarts days, and a fantastical horror film seems like a good segue. A script from Jane Goldman is a great start, as her credits have all been good if not great: “X-Men: First Class,” “The Debt,” “Kick-Ass” and “Stardust.”

Rotten Tomatoes: 65% (good)

My Thoughts: I like the writer and I like the cast, so perhaps we’re looking at one of the better horror offerings of 2012. Rarely does the genre ever boast any level of talent, and when it does you either get films like last year’s flop “Dream House” or the acclaimed “Insidious.” Looks like we are leaning more towards the latter with this one, so good for Radcliffe and good for horror fans, who also have Ti West’s “The Innkeepers” in very limited release this weekend.

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Big Miracle

Directed by Ken Kwapis
Written by Jack Amiel and Michael Begler, Thomas Rose (book “Freeing the Whales”)
Starring: Drew Barrymore, John Krasinski, Kristen Bell

Summary: A news reporter in Alaska convinces and his ex-girlfriend, a Greenpeace volunteer, try to save a family of whales who are trapped in rapidly forming ice in arctic. Together they rally for government support to help carve a path through the ice to the ocean.

The Word: ”Big Miracle” looks to be the latest in a line of successful inspirational movies involving animals and based on a true story, the latest being the fall hit “Dolphin Tale.” With a few more marketable stars and a time of year devoid of family offerings, this “save the whales” film could do quite well. Ken Kwapis, frequent “The Office” director and the helmer of “He’s Just Not That Into You” directs.

Rotten Tomatoes: 64% (good)

My Thoughts:  I don’t doubt that this movie will be good. I also don’t doubt that this movie won’t be just like every movie you’ve ever seen involving overcoming the odds. The trailer also seems to give away just about every major turning point, but hey, it’s not like you wouldn’t have seen them coming anyway and it doesn’t mean they won’t cut to your emotional core.

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Box Office Predictions

So it begins—my third go-around dissecting every category at the Academy Awards in a three-week span. This year, the 84th Academy Awards take place on Feb. 26, three days before we leap. Fittingly, I am experiencing dejá vù all over again, because I began this quest for the 2011 Oscars exactly one year ago today—Groundhog Day.

As always, I begin with the technical of the technical, the Best Sound Editing, Best Sound Mixing and Best Visual Effects categories. These categories provide the best chance for a big blockbuster to come away as an Academy Award-winning big blockbuster. Last year, “Inception” swept all three categories, as many (myself included) predicted. Lately, when a film gets nominated for both sound categories, it wins both sound categories. “The Dark Knight” was the most recent exception, losing Best Sound Mixing to “Slumdog Millionaire.”

Rare this year is a five-film deep visual effects category. It doesn’t happen often, but it might not make a difference. Check out my analysis and predictions below

Best Achievement in Sound Editing

• “Drive” – Lou Bender and Victory Ray Ennis
• “The Girl with the Dragon Tattoo” – Ren Klyce
• “Hugo” – Philip Stockton and Eugene Gearty
• “Transformers: Dark of the Moon” – Ethan Van der Ryn and Erik Aadahi
• “War Horse” – Richard Hymns and Gary Rydstrom

Best Achievement in Sound Mixing

• “The Girl with the Dragon Tattoo” – David Parker, Michael Semanick, Ren Klyce and Bo Persson
• “Hugo” – Tom Fleischman and John Midgley
• “Moneyball” – Deb Adair, Ron Bochar, Dave Gianmarco and Ed Novick
• “Transformers: Dark of the Moon” – Greg P. Russell, Gary Summers, Jeffre J. Haboush and Peter J. Devlin
• “War Horse” - Gary Rydstrom, Andy Neslon, Tom Johnson and Stuart Wilson

Sound mixing refers to a film’s master track and how well all the many sounds of a film blend together. As such, it’s often simply called “Best Sound.” While Best Sound Editing winners tend to be war and action films, Best Sound Mixing winners can often be musicals. Obviously, there are no musicals contending this year.

So what about good music in general? You have to look at the Best Original Score category. The last three years now, the winner of Best Sound Editing was at least nominated for Best Original Score: “Inception,” “The Hurt Locker” and “Slumdog Millionaire.” This year, Hugo and War Horse were nominated for Best Original Score for Howard Shore and John Williams respectively. Even though it wasn’t nominated for Best Original Score, you have to give mention to The Girl with the Dragon Tattoo, as its composers won last year’s award.

Moneyball seems particularly out of place, though editing-wise many praised the working in of baseball highlights. Interestingly, Ed Novick has a credit on the film, and he won last year for “Inception.” Of all the films nominated, however, this one is the black sheep. With four films nominated for both sound categories, it’s hard to imagine this year would be a split, so I’m picking the sweep. I haven’t seen the film (as of Feb. 2), but I have a gut feeling.

Prediction: War Horse

Best Achievement in Visual Effects

• “Harry Potter and the Deathly Hallows Part 2″ – Tim Burke, David Vickery, Greg Butler and John Richardson
• “Hugo” – Rob Legato, Joss Williams, Ben Grossman and Alex Henning
• “Real Steel” – Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg
• “Rise of the Planet of the Apes” – Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett
• “Transformers: Dark of the Moon” – Dan Glass, Brad Friedman, Douglas Trumbull and Michael Fink

Five films deep for the second year in a row, you’d imagine that this race would be particularly interesting, but it’s not all that close. Real Steel is the one just happy to be at the party, though I must say the visual effects were quite strong. The “Harry Potter” films have not had much luck either, so don’t count on Harry Potter and the Deathly Hallows Part 2.

Although the effects are the best of the series, it’s tough to back Transformers: Dark of the Moon either.

That leaves Hugo and Rise of the Planet of the Apes. The WETA Digital folks have a deep and extensive Oscar history with wins for some of the “Lord of the Rings” films, “King Kong” and “Avatar.” Surprisingly, of all the four names listed for “Apes,” only one has been a part of those films (Joe Letteri). The Academy knows this is WETA’s work, and they know Andy Serkis turned heads this year to the point where he could’ve been nominated for an Oscar. The film deserves a statuette to put it bluntly, but that doesn’t mean the CGI vistas of “Hugo” and some of the best 3D ever can’t play spoiler.

Prediction: Rise of the Planet of the Apes

Liam Neeson the gritty action hero. How unbelievable that at nearly 60 years old, an actor can redefine his career and become more bankable. Neeson has somehow re-channeled the seriousness he brought to dramatic roles into creating utterly convincing heroes in decent (at best) thrillers. 

But that’s not “The Grey.” “The Grey” earns marks far above decent, and Neeson’s performance makes it better. I know, the calendar clearly reads January, but that’s a matter of maximizing box-office potential in this case. Writer/director Joe Carnahan (“The A-Team”) has turned a new leaf in this harrowing wilderness survival thriller, a film as dedicated to exploring the true extent of the human will to live as much as shocking its audience with menacing wolf attacks.

Neeson leads the pack in all manner of ways. Paid to protect oil workers from nature’s dangers (especially wolves), Neeson’s character Ottway turns out to be a group of drillers’ best chance for survival when their plane crashes in the Alaskan wilderness near a wolf den. He’s far from a boy scout, however, and he’s emotionally wounded by the fact that his wife has left him.

Most of the early indicators in the film give you the sense that Neeson will do his usual solemn-faced hero routine that he executes to perfection, but the way the film unfolds (not in terms of plot, but in terms of the quality of the storytelling) asks him to go beyond that. He definitely responds.

When looked at in its most fundamental form, “The Grey” could be considered just another film in which a group of imperiled people die one at a time en route to finding safety. Carnahan, however, slows down that pace so that we can absorb the extent of the danger and imagine ourselves in it. When death does occur, it’s visually striking, jaw-dropping and/or thought-provoking as compared to standard efforts at the genre that involve only jump-scare deaths or death by character stupidity.

Only one character, Diaz (Frank Grillo) gets a stereotype as the stubborn self-centered jerk who disagrees with Ottway on purpose. Most movies would’ve killed him off before he got too annoying, but Carnahan and co-writer Ian Mackenzie Jeffers (who wrote the short story the film’s based on), have more interesting plans in store for him.

It’s also not just a film about people being hunted by wolves in the wilderness. There’s no bloody man vs. wolf climactic battle, unlike what the trailers would have you believe, so film fans prone to take misleading marketing out on the film itself, be prepared. “The Grey” is much more of a suspenseful drama with high-adrenaline scenes lurking around every corner.

As such, the visual style of “The Grey” asks for something different from Carnahan than the over-the-top high-flying nature of his previous two films, “The A-Team” and “Smokin’ Aces.” The overall tone is gritty and naturalistic, so snow-caked beards without the blistering frostbite makeup.

The action is also more frenetic and gripping. Rather than shooting the action scenes in a traditional sense, he wants the viewer to feel as if they are experiencing them along with the characters. If a character falls from a tree top and hits 20 branches on the way down, that’s exactly what the camera’s doing. This maximizes the intensity of every major sequence. As for the wolves, they’re horrifying, yet never painted as the bad guys. They’re just part of nature.

When it comes to issues of faith and the will to survive, that’s when “The Grey” really jumps up and above the bar for its genre. The story is told in such a way that when people die, it’s not for our entertainment, but to highlight the unpredictable nature of … nature, and life and death. As Ottway wrestles with these same issues, its Neeson’s performance that makes it hit home.

“The Grey” gives its audience the rare gift of genre-film entertainment with some serious food for thought and an ample dose of emotion. Carnahan’s choices on how to tell the story, along with an ending not typical of genre films, only make it all the stronger. Both he and Neeson display the true nature of their strengths. Hopefully we’ve seen only the beginning of Carnahan’s potential, and that nature is kind enough to Neeson to let him continue challenging the norm for the standard heroic performance.

4.5/5 Stars

The Grey
Directed by Joe Carnahan
Written by Joe Carnahan, Ian Mackenzie Jeffers (screenplay and short story)
Starring: Liam Neeson, Dermot Mulroney, Frank Grillo, James Badge Dale

January wraps up with some thrillers and a female-skewing action comedy. Liam Neeson once again looks to prove that he is box-office king of January/February with “The Grey.” Katherine Heigl will look to see if she’s got any box-office mojo left starring in an action rom-com based on a bestselling book series in “One for the Money.” Then, after a quiet 2011, “Avatar” star Sam Worthington jumps back onto the scene (maybe literally, even) in “Man on a Ledge.” Lastly, five-time Academy Award nominee “The Descendants” will be the first of the contenders to do a wide pre-Oscars run.

Now in Theaters

The Grey

Directed by Joe Carnahan
Written by Joe Carnahan, Ian Mackenzie Jeffers (screenplay and short story)
Starring: Liam Neeson, Dermot Mulroney, Frank Grillo, James Badge Dale

Summary: A plane full of oil drillers crash lands in the Alaskan wilderness. Under the leadership of a trained wilderness bodyguard, they must struggle to survive against the elements — and a pack of angry wolves.

The Word: Carnahan and Neeson team up again after a successfully entertaining effort in 2010′s “The A-Team.” This seems like a whole other animal, as it has a darker and grittier bend, especially when compared with “A-Team” and Carnahan’s previous effort, “Smokin’ Aces.” At the same time, it’s being marketed as much like an escape from rabid creatures flick as anything. Interestingly, with some of the 2011 screenings, it was one time thought that Neeson would get an Oscar push for his performance.

Rotten Tomatoes: 75% (very good)

My Thoughts: Neeson makes anything better. He’s like the extra butter in every baking recipe. He’ll be hard at work in “The Grey,” trying to turn a story of survival into something exciting and original. The early buzz for the vet suggests this is an ironic warm spot on the winter calendar.

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Man on a Ledge

Directed by Asger Leth
Written by Pablo F. Fenjves
Starring: Sam Worthington, Elizabeth Banks, Jamie Bell, Ed Harris

Summary: An escaped convict (Worthington) accused of stealing a diamond sets out to prove his innocence by climbing out onto the ledge of a Manhattan hotel. While a cop (Banks) tries to talk him down, his brother (Bell) is busy trying to get revenge on the man (Harris) who he says framed him.

The Word: You’ve never heard of the writer or director, but the faces are easy to recognize. Considering Summit had no additional writers work on Fenjves script, they must feel really good about what they read. After a slow 2011, Worthington will look to boost his box-office appeal. The appearance of an Ed Harris and Kyra Sedgwick seems strange, but it only helps this thriller that’s sure to have some crazy twist.

Rotten Tomatoes: 21% (bad)

My Thoughts: Never mind the literal title, the marketing is in full force and looks to have people’s attention like a … man on a ledge … actually would. The star power is there unlike many January thrillers, but films like this can build up some serious anticipation of an awesome twist. If “Ledge” doesn’t deliver in this capacity, it won’t find many fans, and critics have already called it out on its believability issues.

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One for the Money

Directed by Julie Anne Robinson
Written by Stacy Sherman and Karen Ray, Liz Brixius, Janet Evanovich (novel)
Starring: Katherine Heigl, Jason O’Mara, Debbie Reynolds, Sherri Sheppard

Summary: When lingerie saleswoman Stephanie Plum (Heigl) finds herself without a job, she turns to her cousin, a bail-bondsperson, who gives her a job as a bounty hunter, essentially. Turns out her first assignment involves bringing in a former lover who dumped her some time ago.

The Word: Heigl gives the rom-com another whirl, this time with the help of Janet Evanovich’s best-selling book series (despite some obvious similarities to 2010′s Jennifer Aniston film “The Bounty Hunter.” Frequent TV director Julie Anne Robinson, whose last film was “The Last Song” with Miley Cyrus, lead the all-female directing/writing crew. Liz Brixius, creator of Showtime’s ”Nurse Jackie,” did work on the script.

Rotten Tomatoes: N/A

My Thoughts:  Why Heigl won’t try her hand at something better blows my mind. She obviously doesn’t know a good script, or maybe just doesn’t read them. Perhaps “Knocked Up” was really an anomaly and not indicative of her potential as an actress. She did decently last time she opened a film in January (2008′s “27 Dresses”), but this one is more similar in premise to “Killers,” her biggest dud. Without being screened for critics, Lionsgate will rely heavily on book fans and a demographic that hasn’t been catered to since “New Year’s Eve.”

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The Descendants

Directed by Alexander Payne
Written by Alexander Payne, Nat Faxon and Jim Rash, Kaui Hart Hemmings (novel)
Starring: George Clooney, Shailene Woodley, Amara Miller

Summary: After his wife ends up in the hospital on life support, Hawaiian land baron Matt King must take care of his two daughters, but when he learns that his wife had been cheating on him before the accident, he takes the girls on a trip to confront the man she had an affair with.

The Word: Alexander Payne had been absent from the movie world since “Sideways” about seven years ago, but he’s back in full force with “Descendants.” The film has been nominated for five Oscars: Best Picture, Best Actor (Clooney), Best Director, Best Adapted Screenplay and Best Editing.

Rotten Tomatoes: 90% (excellent)

My Thoughts: I wasn’t all that excited about this one at first, but it quickly became my favorite film of the year. It’s not an easy film, but Clooney gives one of if not his best performance and everything from the setting to the acting works to tell one story. It’s a beautiful film, but completely different from its more lighthearted Best Picture counterparts. Read my review.

Box Office Predictions

Few actors have a career comparable to that of Liam Neeson’s. The Irish-born actor didn’t really hit the map until he was nearly 40, yet he’s known as a dedicated and gifted thespian with the chops for an occasional mean streak.

Neeson forged his career on a reputation for playing historical figures including Oskar Schindler, Irish revolutionary Michael Collins and — a little down the road — sexologist Alfred Kinsey. At the turn of the century, he landed a huge role in the “Star Wars” prequels, in hopes of shaking up his images as Mr. Serious. 

With a couple big parts in 2005, Neeson began to reinvent himself as the badass we’ve come to know and love (and whom money-hungry studios can rely on). It’s the kind of image change publicists only fantasize about, but it goes to show how truly gifted actors cannot be confined to dramatic fare.

Neeson turns 60 in June, but his career as a (mostly vengeful) action hero seems to have only begun. With The Grey looking to add another successful action credential to his resume, we’ve compiled a list of his most badass roles. Considering his first gig as (1981‘s Excalibur) had him losing a joust and cowardly going back on his word just to save his skin, he’s come a long way.

10. Clash of the Titans (2010) – Zeus

When you ask your agent to land you roles in action films, you’re going to occasionally play in a stinker. On paper, getting to be Zeus, King of the Olympians, in a remake of a classic in Clash of the Titans sounds like a great idea for maintaining your profile as a veteran of cinema’s badasses, but if Neeson knew ahead of time how shiny his armor would be, I think he would’ve reconsidered. How does this make the Top 10 then, you ask? Three simple words:

“Release the Kraken!”

9. Kingdom of Heaven (2005) – Godfrey de Ibelin

Outside of “Gladiator,” Ridley Scott’s period pieces are not among his most beloved films, but “Kingdom of Heaven” has a lot of fans that would stand behind it. Although Godfrey’s fate diminishes Neeson’s badassery in this film, he owns a pretty sweet fight scene in the woods after imparting some battle wisdom to his son (Orlando Bloom). He also has a man killed with a war hammer to the skull.

8. Star Wars Episode I: The Phantom Menace (1999) – Qui-Gon Jinn

Say what you will about the film, but “Phantom Menace” first introduced Neeson to a lot of younger folks at the time (myself included) as he had previously stuck with roles in dramatic, violent R-rated fare. Despite succumbing to Darth Maul, Qui-Gon represents the ideal Jedi, as wise as he is battle-capable. Sure, he was wrong about Anakin Skywalker, but nobody’s perfect …

7. Gangs of New York (2002) – “Priest” Vallon

You might at this point be wondering if Neeson croaks in every film he’s ever been in, but it just goes to show how the man leaves an impression. He doesn’t last more than 20 minutes into Martin Scorsese’s depiction of violent 19th Century New York, but his presence (and the fact that he fights with sword in one hand and cross in the other) makes all the difference. More importantly, his death sets the film in motion as it provides motivation his son (Leonard DiCaprio) to avenge him.

6. The A-Team (2010) – Hannibal Smith

Neeson hasn’t taken many roles based on characters that have previously been portrayed, but he fearlessly creates his own version of the character invented by George Peppard in the ‘80s TV series. Despite the cigar-chomping, Neeson adds a measure of seriousness to both the film as a whole and the dynamic of this team of elite covert ops specialists. Whereas director Joe Carnahan’s film most demonstrates giddy action overkill, Neeson remains one of few anchors.

5. Rob Roy (1995) – Robert Roy MacGregor

When it comes to naming cinema’s best sword fighters, it starts with Errol Flynn, but in the next handful of names you’ll find Liam Neeson. if for no other reason than the sheer volume of times he’s had to pick up a blade — or lightsaber. His role as 18th Century Scottish clan leader Robert MacGregor marks one of his most heroic, and he caps it off with a nice sword duel to the death with actor Tim Roth.

4. Batman Begins (2005) – Henri Ducard

Neeson seems to enjoy the first installments of trilogies it would seem, and he also apparently relishes teaching future warriors everything they know. His pivotal role in “Batman Begins” set the standard for the gravitas that we have come to expect from Christopher Nolan’s films, this series in particular. Playing Henri Ducard, who later reveals himself as Ra’s al Ghul before promptly burning Wayne Manor to the ground, marked the beginning of Neeson’s true renaissance as an action star.

3. Darkman (1990) – Petyon Westlake/Darkman

Time for a little shout out to Sam Raimi, as his dark superhero revenge tale “Darkman” placed Neeson on the map. Taking on the mantle of a severely disfigured vigilante anti-hero set the tone for Neeson’s career as a badass, but also as someone dedicated to every part he plays. He’s known as a dedicated role researcher, and for Petyon Westlake he conducted interviews with people who work with recently disfigured people to help them re-enter society.

2. Schindler’s List (1993) – Oskar Schindler

Admittedly, nothing about Oskar Schindler falls under the textbook definition of “badass,” not that a textbook definition exists. Still, Neeson’s lone Oscar-nominated role is one for the ages in a film for the ages. It definitely takes a certain kind of badass to defy the Nazi’s and turn your factory into a refuge for Jews who would’ve otherwise died.

1. Taken (2008) – Bryan Mills

Plenty of prior indicators had evidenced Neeson could be a real badass on film, but Pierre Morel’s “Taken” played to those strengths better than any of his previous efforts and fully skyrocketed the then-55-year-old’s action career. He’s shown a gift for one-liners and for creating completely believable characters with unrivaled intelligence and physical skill. “Taken” also surprised at a usually dull January box office and began the trend of winter revenge films that’s still rolling four years later. You can’t ask for much more.

Terrence Malick can’t count himself among the most popular directors working today, but he can certainly count himself among the most respected. His work tends to follow suit, and “The Tree of Life” is no exception. This meditation on life, death, God and the origin of the universe can be described as nothing short of visually masterful, but as well as Malick commands everything within his frame, he has a lot of trouble commanding his audience’s attention span.

Not that he cares — or should. Malick is cinema’s finest poet, and poetry has always been an art form belonging to the artist. We are not meant to understand “The Tree of Life,” but to be affected by it, struck by it in some way. The general public won’t take kindly to this, but anyone with an eye for expert filmmaking has to tip the hat to Malick’s latest.

“The Tree of Life” tells a non-linear story using a series of short visual sequences. Jack (Hunter McCracken as a boy, Sean Penn as a man) grew up in Texas in the ‘50s to a kind and spirited mother (Jessica Chastain) and a tough-love father (Brad Pitt). Although we know Jack loses his brother at the age of 19, this has little bearing on the rest of the plot, though it complicates older Jack’s perspective and informs the rest of our experience with the film. We then see the universe in action (including dinosaurs), followed by Jack’s life growing up.

The film ultimately becomes about Jack forgiving his father for making him “choose” between his parents, for the psychological damage done to him because of his father’s strict rules and rough life lessons. We see this in scenes best described as fleeting memories accompanied by voiceovers of the characters’ one-sided conversations with God.

As we all do in less cinematic ways, Malick wrestles here with faith and with our place in the world as individuals. Rarely, however, does he manage to make a concise point about any of this. Also, the film’s emotional impact comes only from the way we see Pitt’s character treat his children and how it damages Jack. There’s a disconnect then between what the film is about and how it leaves its deepest impression.

Pitt and Chastain give excellent performances despite the fact that “Tree of Life” is not a film about performances, at least not in the traditional sense. As much as they must be able to act, they must also be able to soak up the camera and bask in the expert lighting. That’s what it takes to be in a Malick film. McCracken also impresses considering how little he’s given to say.

Not enough can be said about the beauty of this film. Malick’s camera takes on a life of its own, moving fluidly throughout scenes and only pausing to capture something remarkable, usually with regards to light. Surely if he devoted these skills to more traditional storytelling he’d be among the most celebrated filmmakers alive.

It’s easy to dismiss “The Tree of Life” as pretentious. Unquestionably we expect certain things from film that we don’t expect from poetry; we value accessibility in our moviegoing experiences and “The Tree of Life” offers little of that. At the same time, it has valuable things to say and does so with a visual power rivaled by little else.

3.5/5 Stars

The Tree of Life
Written and Directed by Terrence Malick
Starring: Brad Pitt, Jessica Chastain, Hunter McCracken, Sean Penn

My predictions were a bit rough this year, but I did correctly guess that “Hugo” and “The Artist” would lead the nominees. Both Best Picture nominees received more than 10 nominations, with “Hugo” earning 11.

In the unpredictable Best Picture race, nine films were nominated, so not much change from last year’s set 10. The big surprise was “Extremely Loud & Incredibly Close,” which had been ignored during the entirety of Awards Season ’til now. It ended up with just two nominations.

Other major nominees were “Moneyball” and “War Horse” with six a piece, both of which earned a couple technical nominations to boost their totals. Right behind them with five a piece are “The Descendants” and “The Girl with the Dragon Tattoo.” The latter film managed to do so without a nomination for Best Picture, Best Director or Best Adapated Screenplay, instead riding the performance of star Rooney Mara and four technical nominations.

Other notables were fan favorites “The Help” with four nominations (though no love for writer/director Tate Taylor) and “Bridesmaids” with two. “Midnight in Paris,” “Harry Potter and the Deathly Hallows Part 2,” “Tinker Tailor Soldier Spy,” “The Tree of Life” and “Transformers: Dark of the Moon” each received three nominations.

See the rest below along with how I did:

Best Motion Picture of the Year

• “The Artist”
• “The Descendants”
• “Extremely Loud & Incredibly Close”
• “The Help”
• “Hugo”
• “Midnight in Paris”
• “Moneyball”
• “The Tree of Life”
• “War Horse”

Movie Muse Prediction: 6/9 Correct. I only predicted seven, so my one wrong guess was “The Girl with the Dragon Tattoo.” I’m shocked as many are that “Extremely Loud” made the list, but I do have a theory that every major studio has to have a dog in the race, I just didn’t know it would still happen with the new rules. Warner Bros.’ film had one other nomination and still made Best Picture, which is wrong. Then again, if my theory were correct, “Bridesmaids” would’ve made the list for Universal.

Best Achievement in Directing

• Woody Allen – “Midnight in Paris”
• Michel Hazanavicius - ”The Artist”
• Terrence Malick – “The Tree of Life”
• Alexander Payne  - “The Descendants”
• Martin Scorsese – “Hugo”

Best Performance by an Actress in a Supporting Role

• Bérénice Bejo – “The Artist”
• Jessica Chastain – “The Help”
• Melissa McCarthy – “Bridesmaids”
• Janet McTeer – “Albert Nobbs”
• Octavia Spencer – “The Help”

Movie Muse Predictions: 4/5 Correct. I went against my gut and lost a perfect category chance. I didn’t think much of Shailene Woodley’s performance yet I put her in anyway. McCarthy will be a big story this year.

Best Performance by an Actor in a Supporting Role

• Kenneth Branagh – “My Week with Marilyn”
• Jonah Hill – “Moneyball”
• Nick Nolte – “Warrior”
• Christopher Plummer – “Beginners”
• Max von Sydow – “Extremely Loud & Increibly Close”

Movie Muse Predictions: 4/5 Correct. And here begins my trend of getting one major sneak-in right but failing to get the second. I had Nolte for “Warrior” but didn’t think the Academy would overlook Albert Brooks for “Drive” like the Screen Actors Guild did.

Best Performance by an Actress in a Leading Role

• Glenn Close – “Albert Nobbs”
• Viola Davis – “The Help”
• Rooney Mara – “The Girl with the Dragon Tattoo”
• Meryl Streep - ”The Iron Lady”
• Michelle Williams – “My Week with Marilyn”

Movie Muse Prediction: 4/5 Correct. I was correct in guessing Rooney Mara would snag a nomination, but I did not think Tilda Swinton would be robbed for “We Need to Talk About Kevin.” Obviously not enough folks saw it and it didn’t receive much of an Oscar push.

Best Performance by an Actor in a Leading Role

• Demian Bichir – “A Better Life”
• George Clooney – “The Descendants”
• Jean Dujardin – “The Artist”
• Gary Oldman – “Tinker Tailor Soldier Spy”
• Brad Pitt - ”Moneyball”

Movie Muse Prediction: 4/5 Correct. Once again, I was correct in the snub of DiCaprio for Gary Oldman, but most figured Michael Fassbender would get a nomination for his harrowing role in “Shame,” as did I. Looks like another independent film (see “We Need to Talk About Kevin” above) got screwed.

Best Writing, Screenplay Written Directly for the Screen

• “The Artist” – Michel Hazanavicius
• “Bridesmaids” – Kristen Wiig & Annie Mumulo
• “Margin Call” – J.C. Chandor
• “Midnight in Paris” – Woody Allen
• “A Separation” – Asghar Farhadi

Best Writing, Screenplay Based on Material Previously Produced or Published

• “The Descendants” – Alexander Payne, Nat Faxon & Jim Rash
• “Hugo” – John Logan
• “The Ides of March” – George Clooney & Grant Heslov and Beau Willimon
• “Moneyball” – Aaron Sorkin and Steve Zaillian, Stan Chervin
• “Tinker Tailor Soldier Spy” – Bridget O’Connor & Peter Straughan

Best Foreign Language Film of the Year

• “A Separation” (Iran)
• “Bullhead” (Belgium)
• “In Darkness” (Poland)
• “Monsieur Lazhar” (Canada)
• “Footnote” (Israel)

Movie Muse Prediction: 4/5 Correct. Always go with Israel, yet I failed to here. I’m impressed at guessing the others. I had read that “Bullhead” was kind of quirky and the Academy has gone in that direction lately with “Dogtooth” a perfect example last year. “Pima” must’ve lost out because it got nominated for Best Documentary

Best Animated Feature Film of the Year

• “A Cat in Paris”
• “Chico and Rita”
• “Puss in Boots”
• “Rango”
• “Kung Fu Panda 2″

Movie Muse Prediction: 2/5 Correct. I did badly here. Given the weakness of many films in this category, it’s no surprise two foreign entries made it, but I really didn’t think the Academy would overlook “Cars 2.” And perhaps not enough people saw “The Adventures of Tintin” as animated since it’s motion capture.

Best Achievement in Cinematography

• “The Artist” - Guillaume Schiffman
• “The Girl with the Dragon Tattoo” - Jeff Cronenweth
• “Hugo” - Robert Richardson
• “The Tree of Life” - Emmanuel Lubezki
• “War Horse” – Janusz Kaminski

Movie Muse Prection: 4/5 Correct. Notice a trend? I went with a riskier choice in “Tinker Tailor Soldier Spy” when the next best option was clearly multiple-Oscar-winner Janusz Kaminski.

Best Achievement in Art Direction

• “The Artist” - Laurence Bennett; Robert Gould
• “Harry Potter and the Deathly Hallows Part 2” - Stuart Craig; Stephenie McMillan
• “Hugo” - Dante Ferretti; Francesca Lo Schiavo
• “War Horse” – Rick Carter; Lee Sandales

Best Achievement in Editing

• “The Artist” - Anne-Sophie Bion and Michel Hazanvicius
• “The Descendants” – Kevin Tent
• “The Girl with the Dragon Tattoo” – Kirk Baxter and Angus Wall
• “Hugo” - Thelma Schoonmaker
• “Moneyball” – Christopher Tellefsen

Best Achievement in Music Written for Motion Pictures, Original Score

• “The Adventures of Tintin” – John Williams
• “The Artist” – Ludovic Bource
• “Hugo” – Howard Shore
• “Tinker Tailor Soldier Spy” – Alberto Iglesias
• “War Horse” – John Williams

Movie Muse Prediction: 3/5 Correct. Many thought John Williams would indeed get two noms and low and behold, he did. I was surprised to not see Oscar winner Dario Marianelli in the mix either, but did find the score to “Tinker Tailor Soldier Spy” to be quite good. Nevertheless, modern scores continue to lose as nothing for Trent Reznor and Atticus Ross again, or for The Chemical Brothers and “Hanna.”

Best Achievement in Music Written for Motion Pictures, Original Song

• “Muppet or Man” by Bret McKenzie from “The Muppets”
• “Real in Rio” by Sergio Mendes and Carlinhos Brown, Siedah Garrett from “Rio”

Best Documentary, Features

• “Hell and Back Again”
• “If a Tree Falls: A Story of the Earth Liberation Front”
• “Paradise Lost 3: Purgatory”
• “Pina”
• “Undefeated”

Best Documentary, Short

• “The Barber of Birmingham: Foot Soldier of the Civil Rights Movement”
• “God is the Bigger Elvis”
• “Incident in New Baghdad”
• “Saving Face”
• “The Tsunami and the Cherry Blossom”

Best Short Film, Live Action

• “Pentecost”
• “Raju”
• “The Shore”
• “Time Freak”
• “Tuba Atlantic”

Best Achievement in Sound Editing

• “Drive” – Lou Bender and Victory Ray Ennis
• “The Girl with the Dragon Tattoo” – Ren Klyce
• “Hugo” – Philip Stockton and Eugene Gearty
• “Transformers: Dark of the Moon” – Ethan Van der Ryn and Erik Aadahi
• “War Horse” – Richard Hymns and Gary Rydstrom

Overall Movie Muse Predictions: 57/81 Correct.

Rough year. I knew it would be hard, in addition to the uncertainty of the Best Picture category. I should’ve guessed 10 to be safe. My bad. Stay tuned all month for the most detailed Oscar category coverage out there!

Tomorrow morning at 7:30 a.m. Central Standard Time comes the big announcement cinephiles have been waiting for all year: the 84th Academy Award nominations. Oscar nominee Jennifer Lawrence will present along with Academy of Motion Pictures Arts and Sciences president Tom Sherak.

This year the predictions will be harder than ever with the lack of clear-cut favorites and new rules making for an uncertain number of Best Picture nominees. Last year and the year before I missed only 11 nominees (though I don’t predict every category). This year I have predicted one more category in Best Cinematography. I will also add that I think “Hugo” and “The Artist” will lead all nominees.

Best Motion Picture of the Year

The Locks: The number of nominees this year makes this a tricky category. You have to look at the films getting honored by the major guilds and then go with your gut. That doesn’t mean there aren’t a few definite nominees. In my mind there are 4-5 definite nominations coming. The first is for current Best Picture favorite The Artist. Its big wins of late should be an indicator that voters have rallied around this lovable film. The next two are Hugo and The Descendants. With Scorsese a frontrunner in the Best Director category and Alexander Payne also getting a Directors Guild nomination in addition to the many other categories these films will get nominated for, expect to hear them announced. With its all-star cast and people’s choice popularity, The Help should also be considered a guarantee. The one iffy lock that still seems extremely likely to get a nomination is Midnight in Paris thanks to Best Original Screenplay frontrunner Woody Allen.

Other Contenders: Despite not a lot of buzz for awards in December, The Girl with the Dragon Tattoo looks to be the late bloomer, not unlike last year’s “True Grit.” David Fincher’s DGA nomination and the film’s PGA nomination makes it seem highly likely. I also think a PGA nomination for Moneyball in addition to its pair of Screen Actors Guild nominations makes it a likely nominee.The guilds didn’t love it, but The Tree of Life has some big fans among critics and many other folks. Steven Spielberg’s name will also keep War Horse in the pack until the final second. Producers Guild favorite and people’s choice film Bridesmaids could also sneak in as Universal has no other major contenders.

Possible Spoilers: With two acting nominations and writing nominations not out of the realm of possibility, it wouldn’t be a total head scratcher to see Young Adult pop upon on the screen tomorrow

Final Predictions:

• “The Artist”
• “The Descendants”
• “The Girl with the Dragon Tattoo”
• “The Help”
• “Hugo”
• “Midnight in Paris”
• “Moneyball”

Best Achievement in Directing

The Locks: Most of these are locks as my predictions go along with the Directors Guild Award nominations. Martin Scorsese leads the pack after his Golden Globe win for “Hugo” and Woody Allen follows, though the strength of “Paris” is its writing. Michel Hazanavicius gets all the credit for “The Artist” so he must be on the list and considering the tendency of this to echo the Best Picture nominees, expect Alexander Payne to be there.

Other Contenders: I’m living or dying by “The Girl with the Dragon Tattoo.” David Fincher‘s DGA nod gives me some confidence that the Academy will honor him a second consecutive year, but on his tails are two highly respected names. Terrence Malick could be here and if so, expect “Tree of Life” to have stolen “Dragon Tattoo’s” Best Picture nod. Steven Spielberg cannot be ignored either. He has enough to get nominated without a Best Picture nod for “War Horse,” but it doesn’t seem likely that would happen.

Possible Spoilers: Because their films seem destined for Best Picture nods, you can’t count out “The Help” director Tate Taylor or “Moneyball” helmer Bennett Miller. The Golden Globe nomination also means George Clooney should be taken somewhat seriously.

Final Predictions:

• Woody Allen – “Midnight in Paris”
• David Fincher – “The Girl with the Dragon Tattoo”
• Michel Hazanavicius - ”The Artist”
• Alexander Payne  - “The Descendants”
• Martin Scorsese – “Hugo”

Best Performance by an Actress in a Supporting Role

The Locks: After her Golden Globe win, you can bet Octavia Spencer will be there and considering her litany of buzz and attention, co-star Jessica Chastain will as well. Looking at the Screen Actors Guild, Bérénice Bejo looks like a guarantee with an extra push from all the love for “The Artist.”

Other Contenders:  With a SAG award, I think Janet McTeer makes the final list as small films with relative unknowns delivering good performances tend to be recognized by the Academy. The battle for the fifth spot is tight. Despite being snubbed by the Screen Actors Guild, most are predicting that Shailene Woodley will get a nomination for playing the troubled teenager daughter of George Clooney’s character, though in my opinion it’s not better than any of the other strong performances in the film, including dark horse Judy Greer. With a lot of love from critics and a SAG nomination, Melissa McCarthy. Strangely enough, I’m siding with the Golden Globes who chose Woodley over McCarthy. Comedic performances usually get overlooked.

Possible Spoilers: Although barely in it, Sandra Bullock could be a surprise as she seems to be one of the only parts of “Extremely Loud & Incredibly Close” that’s buzzing. After getting a shout-out from Meryl Streep, Mia Wasikowska might be in the picture too, also for “Albert Nobbs.”

Final Predictions:

• Bérénice Bejo – “The Artist”
• Jessica Chastain – “The Help”
• Janet McTeer – “Albert Nobbs”
• Octavia Spencer – “The Help”
• Shailene Woodley – “The Descendants”

Best Performance by an Actor in a Supporting Role

The Locks: After a Golden Globe win, a SAG nomination and the Academy’s tendency to honor vets, Christopher Plummer is a sure thing here. Despite being overlooked by the Screen Actors Guild, everyone else has loved Albert Brooks in “Drive,” so expect that too. Consummate actor Kenneth Branagh will also definitely see a nomination for playing Sir Laurence Olivier.

Other Contenders: With a SAG and Golden Globe nomination, many are taking Jonah Hill seriously. I’m wary (just look at what happened to Mila Kunis last year), but I have to go with the flow. SAG nomination and veteran status gives me cause to put Nick Nolte on the list as well. A poor push from Lionsgate could be the only thing stopping him. Because I’m eerily convinced he could swipe a spot from one of those two, I’m putting Patton Oswalt on this list for his humorous but down-to-earth turn in “Young Adult.” He’s been sneaking onto a lot of radars.

Possible Spoilers: If enough people saw the film, Max von Sydow could earn a nomination for his silent role in “Extremely Loud & Incredibly Close,” but the film didn’t get a lot of buzz. A SAG nomination puts Armie Hammer on this list for “J. Edgar,” but no one else has given him any love. A Golden Globe nomination earns Viggo Mortensen long-shot status for his portrayal of Sigmund Freud and love for ”Hugo” could land the beloved Ben Kingsley a nomination.

Final Predictions:

• Kenneth Branagh – “My Week with Marilyn”
• Albert Brooks – “Drive”
• Jonah Hill – “Moneyball”
• Nick Nolte – “Warrior”
• Christopher Plummer – “Beginners”

Best Performance by an Actress in a Leading Role

The Locks: The shoo-ins are deep this year: People’s Choice winner Viola Davis has a lot of fans and supporters. A Golden Globe win makes Meryl Streep as threatening as she’s ever been despite “The Iron Lady” lack many friends otherwise. Michelle Williams‘ flawless portrayal of an icon should easily give her a nomination and Tilda Swinton’s role in “We Need to Talk About Kevin” seems to be the great performance not enough people are talking about.

Other Contenders: Hollywood veteran Glenn Close earned a SAG nomination and her iconic status next to probably none other than Streep could be enough for a nomination in an otherwise unworthy film. Charlize Theron has gotten a late push for her excellent performance in “Young Adult” (she also has Diablo Cody on her side, who has herself an Oscar). There’s also Rooney Mara, who could rise the late surge of “Dragon Tattoo” to a nomination. Considering the Academy seems to like that balance of young and old and that “Dragon Tattoo” is picking up steam, my pick is Mara.

Possible Spoilers: The other young star who might shock had the pool not been so thick this year is Elizabeth Olsen in “Martha Marcy May Marlene.” Cannes winner Kirsten Dunst doesn’t seem able to ride the wave long enough, but she deserves a mention.

Final Predictions:

• Viola Davis – “The Help”
• Rooney Mara – “The Girl with the Dragon Tattoo”
• Meryl Streep - ”The Iron Lady”
• Tilda Swinton – “We Need to Talk About Kevin”
• Michelle Williams – “My Week with Marilyn”

Best Performance by an Actor in a Leading Role

The Locks: Considering how popular they are and that the Screen Actors Guild and Hollywood Foreign Press Association recognized them both, George Clooney and Brad Pitt look to go head to head. That doesn’t diminish Jean Dujardin‘s performance, however, and he won the other Golden Globe (Clooney won the first).

Other Contenders: Many consider Michael Fassbender a lock for “Shame,” but his lack of a SAG nomination has me suspicious enough to keep him off the guaranteed list. Outside of him, however, the picture gets blurry. Leonardo DiCaprio managed a SAG and Golden Globe nom, but “J. Edgar” found little to no favor. He’s been nominated three times, but none in the last five years. Many think Gary Oldman got a last-minute push. As critics uncovered “Tinker Tailor,” word of Oldman’s performance and lack of a single Oscar nomination made headlines. It’s a great story. Along the lines of Javier Bardem’s surprise nomination last year is the potential for Demian Bichir to be nominated for “A Better Life.” Strange things have happened, and Bichir did get nominated for the SAG award.

Possible Spoilers: The Academy liked Michael Shannon enough in “Revolutionary Road” to surprise folks and give him an Oscar nod a few years back, and he’s even better in “Take Shelter.” Woody Harrelson has been given much praise for his role in “Rampart,” but no accolades to this point. Ryan Gosling‘s strong year puts him in contention for “The Ides of March” or “Drive,” though the split between the two will likely cost him any shot.

Final Predictions:

• George Clooney – “The Descendants”
• Jean Dujardin – “The Artist”
• Michael Fassbender  - “Shame”
• Gary Oldman – “Tinker Tailor Soldier Spy”
• Brad Pitt - ”Moneyball”

Best Writing, Screenplay Written Directly for the Screen

The Locks: With most of the Best Picture nominees coming from adaptations, you’ll see some different movies getting love. The Artist and Midnight in Paris are definite nominees from the Best Picture race.

Other Contenders: Thanks to the Writers Guild Award nominations, we have some other films likely to make the cut. 50/50, one of my favorites of the year, will most likely get some love here for Will Reiser, who wrote it semi-autobiographical. In a similar darkly comic vein, Young Adult (in my opinion) should make it here seeing as Diablo Cody has won an Oscar and most think this script is better than “Juno.” The comedies don’t end there: if nothing else, Bridesmaids should earn a nomination here. If the Best Picture list were guaranteed to be 10 films, “Bridesmaids” would be on it. Win Win could well see a nomination seeing as it received a WGA nomination. Considering A Separation has been one of the most acclaimed foreign films to come out in a long time, that could show up too.

Possible Spoilers: J.C. Chandor received a lot of praise for Margin Call despite the film’s small profile. Same can be said for Jeff Nichols’ Take Shelter. Terrence Malick should also be a consideration for The Tree of Life.

Final Predictions:

• “50/50″ – Will Reiser
• “The Artist” – Michel Hazanavicius
• “Bridesmaids” – Kristen Wiig & Annie Mumulo
• “Midnight in Paris” – Woody Allen
• “Young Adult” – Diablo Cody

Best Writing, Screenplay Based on Material Previously Produced or Published

The Locks: Taking a look at the Best Picture nominees I’ve predicted, you have to account for them. Last year’s winner Aaron Sorkin should get another nod with his work on Moneyball with Steve Zaillian, who might be up for another nomination. Considering the real strength of The Descendants is writing, that should be inked in as well.

Other Contenders: Although stunning from a visual perspective, John Logan deserves credit for Hugo. As mentioned before Steve Zaillian is looking at a pair of nominations, the second for The Girl with The Dragon Tattoo. Considering it has to get nominated somewhere Tate Taylor deserves a nomination for The Help. The late surge could see Tinker Tailor Soldier Spy with a nomination, aided no doubt by the nomination being 50 percent posthumous as writer Bridget O’Connor passed away in Sept. 2010.

Possible Spoilers: Golden Globe-nominated The Ides of March should be taken seriously and might be more of a contender than a spoiler. If War Horse gets in the mix for Best Picture, a nomination seems possible, though it can survive on Spielberg alone. Although Drive remains (sadly) the longest of longshots, Hossein Amini has a chance.

Final Predictions:

• “The Descendants” – Alexander Payne, Nat Faxon & Jim Rash
• “The Girl with the Dragon Tattoo” – Steve Zaillian
• “The Help” – Tate Taylor
• “Hugo” – John Logan
• “Moneyball” – Aaron Sorkin and Steve Zaillian, Stan Chervin

Best Achievement in Cinematography

• “The Artist” - Guillaume Schiffman
• “The Girl with the Dragon Tattoo” - Jeff Cronenweth
• “Hugo” - Robert Richardson
• “The Tree of Life” - Emmanuel Lubezki
• “Tinker Tailor Soldier Spy” - Hoyte van Hoytema

Best Achievement in Music Written for Motion Pictures, Original Score

• “The Artist” – Ludovic Bource
• “The Girl with the Dragon Tattoo” – Trent Reznor, Atticus Ross
• “Hugo” – Howard Shore
• “Jane Eyre” – Dario Marianelli
• “War Horse” – John Williams

Best Achievement in Music Written for Motion Pictures, Original Song

• “The Living Proof” from “The Help”
• “Life’s a Happy Song” from “The Muppets”
• “Pictures in My Head” from “The Muppets”
• “Lay Your Head Down” from “Albert Nobbs”
• “The Star-Spangled Man” from “Captain America: The First Avenger”

Best Documentary, Features

• “Bill Cunningham New York”
• “Paradise Lost 3: Purgatory”
• “Pina”
• “Project Nim”
• “We Were Here”

Best Foreign Language Film of the Year

• “A Separation” (Iran)
• “Bullhead” (Belgium)
• “In Darkness” (Poland)
• “Monsieur Lazhar” (Canada)
• “Pina” (Germany)

Best Animated Feature Film of the Year

The Locks: Rango seems to be the favorite as it basically swept critics awards, then The Adventures of Tintin made a splash at the Golden Globes, the though Globe have an international reputation. Puss in Boots was also among the more critically praised of the year.

Other Contenders: Sony and Aardman’s Arthur Christmas could get overlooked, but it was one of the better reviewed animated films of the year. People expect Cars 2 to be slighted, but it is Pixar and the visual achievements alone are worth nominating. At the same time, Kung Fu Panda 2 could carve out a spot as well as Rio.

Final Predictions:

• “The Adventures of Tintin”
• “Arthur Christmas”
• “Cars 2″
• “Puss in Boots”
• “Rango”

Things get action-packed this weekend with three diverse action films entering theaters. “Underworld: Awakening” gets the widest release but might have the smallest potential audience, albeit a devoted one. George Lucas-produced “Red Tails” gives Civil Rights history the VFX treatment as a unique alternative while Steven Soderbergh’s star-studded action thriller “Haywire” tries to make ass-kicking look better than ever.

Then there are two expansions of anticipated dramas. Oscar favorite “The Artist” expands to over 600 theaters while Tom Hanks and Sandra Bullock weeper “Extremely Loud & Incredibly Close” expands to theaters everywhere in hopes of piggybacking on all the awards season buzz despite not likely contending for any Oscars.

Now in Theaters

Underworld: Awakening

Directed by Måns Mårlind, Björn Stein
Written by Len Wiseman, John Hlavin
Starring Kate Beckinsale, Michael Ealy, India Eisley, Theo James

Summary: Vampire Death Dealer Selene (Beckinsale) awakens in the future to find humans have discovered the existence of vampires and lycans. She leads the battle against the human race, which seeks to eradicate both species.

The Word: Beckinsale returns to the franchise that helped make her a cult star after stepping out for the prequel “Underworld: Rise of the Lycans.” Her husband Len Wiseman continues as a producer for this fourth go but keeps distance from the director’s chair, giving the Swedish duo of Mårlind and Stein (“Shelter” starring Julianne Moore) a shot. Beckinsale remains the franchise’s biggest as Scott Speedman, Michael Sheen and Bill Nighy have all come and gone.

Rotten Tomatoes: N/A

My Thoughts: I lost interest in the franchise after the first sequel, “Underworld: Evolution.” At first we weren’t being inundated with vampire and werewolf films — obviously things have changed. Glossy action, 3D and Beckinsale in skin-tight clothing might be enough to entertain the series’ devoted fans (see the “Resident Evil” franchise), but it will be hard to claim new ones, especially in a weekend full of action releases.

—

Red Tails

Directed by Anthony Hemingway
Written by John Ridley and Aaron McGruder
Starring: Cuba Gooding Jr., Terrence Howard, David Oyelowo, Bryan Cranston

Summary: Based on the true story of the Tuskegee Airmen, a team of U.S. Air Force fighter pilots kept grounded due to segregation and prejudice, who rise to the challenge when given the chance to escort bombers to and back from targets.

The Word: George Lucas produces this action-oriented take on this Civil Rights story, which features an all-star black cast. Longtime TV director Hemingway (“C.S.I – NY”) and writers Ridley (“Three Kings”) and McGruder (“The Boondocks” TV series) worked on bringing this story of heroism to the big screen.

Rotten Tomatoes: 33% (not good)

My Thoughts: Based on the marketing, Lucasfilm and Fox want this historical action epic to appeal to a younger audience who might be less inclined to see a film about Civil Rights and more inclined to watch visually stunning aerial dogfights. With Industrial Light & Magic behind the VFX, expect that part to at least be worth the admission. The originality of the storytelling, however, might be another story.

—

Haywire

Directed by Steven Soderbergh
Written by Lem Dobbs
Starring: Gina Carano, Channing Tatum, Ewan McGregor, Michael Douglas, Antonio Banderas

Summary: Covert operative Mallory Kane is hired for government dirty work, but when she’s double-crossed, she must escape an international hunt for her head, return to the U.S. and exact her revenge.

The Word: Rarely does a name like Soderbergh come up in January, but you can bet many have their eyes on this star-studded cast in addition to a natural curiosity as to whether former MMA fighter Gina Carano can be the next big female action star (or the first, depending on who you ask).

Rotten Tomatoes: 80% (great)

My Thoughts:  Revenge films have become a motif for the winter months, and with so much talent behind it, one has to think if any film has a chance of being a rare January gem, it’s “Haywire.” Originality might be lacking, but the delivery could well be pristine. The breadth of talent compares equally to the depth with proven vets such as Douglas and Banderas to rising stars such as Fassbender and Tatum.

—

Extremely Loud & Incredibly Close

Directed by Stephen Daldry
Written by Eric Roth, Jonathan Safran Foer (novel)
Starring: Thomas Horn, Sandra Bullock, Tom Hanks, Max von Sydow

Summary: A single father decides he and his kids need a change, so they move away and end up buying a home with a zoo attached to it, but the zoo needs upkeep or they risk losing the animals.

The Word: Sandra Bullock stars in her first role since winning the Oscar for “The Blind Side” along with Tom Hanks and boy-genius Jeopardy winner Thomas Horn. If you think that screams Oscar bait, then you should either be assured (or repulsed by this information): Oscar-winning writer Eric Roth adapted the story and Stephen Daldry, whose three feature films have landed him three Best Director nominations (“Billy Elliot,” “The Hours,” “The Reader”), directs.

Rotten Tomatoes: 48% (mixed)

My Thoughts: I’m still in utter disbelief that this has gotten such a mixed reception and has not been an awards contender this year. At the same time, Warner Bros. has promoted it exceptionally well and it could indeed make some cash. From browsing Rotten Tomatoes, it would seem that some people will take well to the way it goes straight for the heartstrings, and others will find that off-putting.

—

The Artist

Written and Directed by Michel Hazanavicius
Starring: Jean Dujardin, Bérénice Beho, John Goodman, James Cromwell

Summary: In 1927 Hollywood, silent film star George Valentin confronts the realization that talking pictures might put an end to his career, just as he hits it off with an emerging young dancer named Peppy Miller.

The Word: A silent film (that’s right, no dialogue in this one) in black and white will be a hard sell to the public, especially without big-name star, but Hazanavicius’ film has won over audiences during its festival circuit and been nominated for the top prize in a couple instances, including the Palme d’Or at Cannes. Dujardin won for Best Actor at Cannes, so as silent as the film might be, its awards run will not.

Rotten Tomatoes: 97% (excellent)

My Thoughts: In a year for feel-good films, “The Artist” ranks among the best. Hazanavicius reminds us of some of the simple powerful truths of movie-making and storytelling in this overall solid film. Read my review.

Box Office Predictions

An action triple-header comes in January this year, with a few more offerings in February. George Lucas is responsible for 1/3 of the films on this list and half of them will be presented in 3D. Highlights include a rare winter offering from an acclaimed director in Steven Soderbergh’s “Haywire,” the fourth “Underworld” film and a sequel to a Marvel superhero film you may have forgotten.

George Clooney turned out to be both the biggest winner and the biggest loser at this year’s Golden Globes Sunday. Despite a win for Best Actor in a Drama for “The Descendants” — the film that also took home Best Drama — Clooney’s own film, “The Ides of March,” was shut out completely in all four categories for which it was nominated.

The other big winner of the night was Academy Award Best Picture frontrunner “The Artist.” The silent film didn’t win any accolades for writer/director Michel Hazanavicius, but instead took home Best Musical/Comedy, Best Actor in a Musical/Comedy for star Jean Dujardin and Best Original Score.

In the writing and directing categories, the Hollywood Foreign Press Association was able to award two of the all-time greats with statuettes, Martin Scorsese (“Hugo”) and Woody Allen (“Midnight in Paris”).

See all the winners below.

Best Picture – Drama

• The Descendants
• The Help
• Hugo
• The Ides of March
• Moneyball
• War Horse

My Thoughts: With “The Artist” being in the musical/comedy category, it’s tough to say whether “The Descendants” has a chance at the Oscar. Still, considering it competed with more mainstream feel-good films in “The Help,” “Hugo” and “Moneyball,” it’s a pretty big victory for Alexander Payne’s film.

Best Picture – Musical/Comedy

• 50/50
• The Artist
• Bridesmaids
• Midnight in Paris
• My Week with Marilyn

My Thoughts: Having emerged as the clear frontrunner for the Oscar in recent weeks, this win wasn’t a big surprise at all. The real competition (if it exists) comes from the Best Drama nominees.

Best Director

• Woody Allen for “Midnight in Paris”
• George Clooney for “The Ides of March”
• Michel Hazanavicius for “The Artist”
• Alexander Payne for “The Descendants”
• Martin Scorsese for “Hugo”

My Thoughts: The win definitely puts Scorsese ahead in the race, even if the HFPA likes to give big names the recognition. The the Directors Guild Award will be the true indicator for the Oscar as it always is.

Best Actor – Drama

• George Clooney for “The Descendants”
• Leonardo DiCaprio for “J. Edgar”
• Michael Fassbender for “Shame”
• Ryan Gosling for “The Ides of March”
• Brad Pitt for “Moneyball”

My Thoughts: Although Brad Pitt will get nominated for the Oscar, it’s clear Clooney has the leg up on him. Whether or not he’s way ahead of Jean Dujardin remains to be seen.

Best Actress – Drama

• Glenn Close for “Albert Nobbs”
• Viola Davis for “The Help”
• Rooney Mara for “The Girl with the Dragon Tattoo”
• Meryl Streep for “The Iron Lady”
• Tilda Swinton for “We Need to Talk About Kevin”

My Thoughts: Viola Davis seems to be the people’s choice, but it appears the HFPA couldn’t resist Streep. The two will probably duke it out for the Oscar though I think Michelle Williams might be the best of them.

Best Actor – Musical/Comedy

• Jean Dujardin for “The Artist”
• Brendan Gleeson for “The Guard”
• Joseph Gordon-Levitt for “50/50″
• Ryan Gosling for “Crazy, Stupid, Love”
• Owen Wilson for “Midnight in Paris”

My Thoughts: The Cannes winner pulls off the Globe and considering the rest of that list, it’s not a surprise.

Best Actress – Musical/Comedy

• Jodie Foster for “Carnage”
• Charlize Theron for “Young Adult”
• Kristen Wiig for “Bridesmaids”
• Michelle Williams for “My Week with Marilyn”
• Kate Winslet for “Carnage”

My Thoughts: Williams’ competition will be completely different in the Oscars, but a deserving win no less.

Best Supporting Actor

• Kenneth Branagh for “My Week with Marilyn”
• Albert Brooks for “Drive”
• Jonah Hill for “Moneyball”
• Viggo Mortensen for “A Dangerous Method”
• Christopher Plummer for “Beginners”

My Thoughts: Plummer was always one of the big competitors for this Oscar, but this helps his stock, especially after all the critics awards that Albert Brooks won.

Best Supporting Actress

• Bérénice Bejo for “The Artist”
• Jessica Chastain for “The Help”
• Janet McTeer for “Albert Nobbs”
• Octavia Spencer for “The Help”
• Shailene Woodley for “The Descendants”

My Thoughts: The lone win for “The Help” and probably the film’s most deserving. Spencer is certainly the Oscar frontrunner.

Best Screenplay

• “The Artist” – Michel Hazanavicius
• “The Descendants” - Alexander Payne, Nat Faxon and Jim Rash
•  ”The Ides of March” – Grant Heslov and Beau Willimon
• “Midnight in Paris” – Woody Allen
• “Moneyball”  - Aaron Sorkin and Steve Zaillian

My Thoughts: Without two separate categories like with the Oscars, this was a loaded list. Respect for Allen could help him win out.

Best Animated Film

• The Adventures of Tintin
• Arthur Christmas
• Cars 2
• Puss in Boots
• Rango

My Thoughts: With “Rango” sweeping most critics awards, the win for “Tintin” would seem a surprise, but considering the international nature of the HFPA, it really isn’t.

Best Foreign Film

• The Flowers of War
• In the Land of Blood and Honey
• The Kid with a Bike
• A Separation
• The Skin I Live In

My Thoughts: One of the few hands-down Oscar nominations and wins.

Best Original Song

• “Lay Your Head Down – Brian Byrne and Glenn Close (from “Albert Nobbs”)
• “Hello Hello”  – Elton John and Bernie Taupin (from “Gnomeo & Juliet”)
• “The Living Proof” –  Mary J. Blige, Thomas Newman, Harvey Mason Jr., Damon Thomas (from “The Help”)
• “The Keeper” –  Chris Cornell (from “Machine Gun Preacher”)
• “Masterpiece” –  Madonna, Julie Frost, Jimmy Harry (from “W.E.”)
• 
  

Best Original Score

• “The Artist” – Ludovic Bource
• “W.E” - Abel Korzeniowski
• “The Girl with the Dragon Tattoo” – Trent Reznor and Atticus Ross
• “Hugo” – Howard Shore
• “War Horse” - John Williams

The mix of films getting exposure for Oscar sake and films just trying to get exposure for money sake continues this weekend. All three new releases get just around 2,500 theaters. The widest release goes to the first action/thriller in what seems like ages in “Contraband” starring Mark Wahlberg, while music comedy “Joyful Noise” and Disney’s 3D run of “Beauty and the Beast” follow. Meryl Streep’s run for her first Oscar in more than 20 years kicks into high gear with an expansion for Maggie Thatcher biopic “The Iron Lady.”

Now in Theaters

Contraband

Directed by Baltasar Kormákur
Written by Aaron Guzikowski, Arnaldur Indriðason and Óskar Jónasson (film “Rekjavik-Rotterdam”)
Starring: Mark Wahlberg, Giovanni Ribisi, Kate Beckinsale, Ben Foster

Summary: A former drug smuggler agrees to one last job against his will in order to help his brother-in-law: smuggling counterfeit bills from Panama. But the job puts his wife and kid in harm’s way

The Word: This drug-running revenge thriller is based on an Icelandic film that director Baltasar Kormákur co-produced, starred in and loved so much that he helped remake it for English-speaking audiences. A cast of famous faces familiar to the genre, predominantly Mark Wahlberg, were obviously drawn to this classic “one last job gone wrong” story, so that helps its cause for sure.

Rotten Tomatoes: 47% (mixed)

My Thoughts: Marky Mark makes for a great protagonist, so despite being a story we’ve seen hundreds of times, the talent suggests something that could pass for entertaining. Each of these stars has made a bad film, so they’re not expert script scouts, but it’s January and the bar is low.

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Joyful Noise

Written and Directed by Todd Graff
Starring: Dolly Parton, Queen Latifah, Keke Palmer, Jeremy Jordan

Summary: After inheriting a struggling church choir, Vi Rose Hill (Latifah) must play nice with the boisterous G.G. Sparrow (Parton). Meanwhile, Sparrow’s grandson (Jordan) shakes things up in the choir including getting the attention of Vi Rose’s daughter (Palmer)

The Word: Seems like everyone’s finding their voice these days. How are we ever going to live in a censored dystopian society? Anyway, you can thank “Glee” for Hollywood’s perceived increase in demand for music-filled movies such as “Joyful Noise.” That’s perfectly okay by writer/director Todd Graff, whose passion has always been making music films. He previously directed Vanessa Hudgens in “Bandslam” as well as the aptly titled ”Camp,” a 2003 film with a big gay and lesbian following.

Rotten Tomatoes: 40% (mixed)

My Thoughts: Expect at least a decent soundtrack from this movie, but it will take a lot more than Parton’s self-deprecating plastic surgery humor for this small-town comedy/drama to connect with an urban audience.

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Beauty and the Beast 3D

Directed by Gary Trousdale and Kirk Wise
Written by Linda Woolverton and 11 others
Starring: (voices) Paige O’Hara, Robbie Benson, Richard White, Jerry Orbach

Summary: Small-town beauty Belle wants to get swept off her feet, but gets more than she bargained for when a mishap with her father leads her to the castle of a prince cursed by an old witch to look like a beast.

The Word: The 3D re-release of “The Lion King” earned Disney an extra $90-plus million. Needless to say that opened up the rest of the Disney Classics catalog for a “limited engagement” 3D re-release. I don’t use the quotation marks lightly, as “Lion King” opened in mid September and is still playing right now (albeit in fewer than 10 theaters). Considering “Beauty” was the first animated film to receive an Oscar nomination for Best Picture, it was a logical next step.

Rotten Tomatoes: 91% (excellent)

My Thoughts:  Nothing screams cash grab like this 3D re-release campaign, but that’s because as someone who grew up with these films there’s no need to spend money on inflated ticket prices. It’s great for young parents though, as they can ensure their kids won’t be seeing something crappy.

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The Iron Lady

Directed by Phyllida Lloyd
Written by Abi Morgan
Starring: Meryl Streep, Jim Broadbent, Richard E. Grant

Summary: A biopic about former British Prime Minister Maggie Thatcher, who had to contend with issues related to being a female prime minister as well as make some divisive decisions that marred her reputation.

The Word: Meryl Streep. One gets the sense that her place in this film has given it this big of a spotlight. The Academy and most people in general love immersive impersonations, not to mention Streep in general, so there’s long been talk of whether this would-be 17th Oscar nomination could earn her her first win since “Sophie’s Choice.” She’ll have to do it with the help of her “Mamma Mia!” director Lloyd. Screenwriter Morgan also co-wrote this season’s “Shame.”

Rotten Tomatoes: 57% (mixed)

My Thoughts:  No question that Streep is the alpha and omega when it comes to this film. With that being the case,  you have to hope it isn’t one of those “Streep stands out amongst a (negative word) script” like recent disappointment “J. Edgar.” The buzz has been exactly that for this film, even though I have pretty unshakable faith in the quality of British-made biopics.

Box Office Predictions

We are most often drawn to two types of great performances: the believable expression of extreme emotions in powerful circumstances and the impersonation. When an actor playing a person for which we have a point of reference convinces our imaginations so completely that this is in fact what the real-life figure was like, we are astounded. 

Yet the challenge of being Marilyn Monroe is something else altogether. Playing Monroe transcends capturing the personality of a global superstar; it’s about embodying pure sex appeal and newly creating her same raw and alluring energy. Throughout the film, various characters comment how they can’t take their eyes off her on screen. This is not something that can simply be engineered in a lab, so to speak. The fact that Michelle Williams recreates Monroe so naturally cannot go understated. Just as the Hollywood icon would to her pictures, Williams so completely changes the aura of “My Week with Marilyn.”

Hollywood’s trend of late to avoid chronological biopics makes a big difference in this film. Colin Clark’s account of his time working on the set of “The Prince and the Showgirl” creates a snapshot of Monroe’s life that gives insight into who she was, but without losing the context of how she is remembered. Told through the eyes of Clark himself (Eddie Redmayne), Monroe remains that enigmatic celebrity to the audience, which makes Williams’ performance all the more captivating.

What a gift Williams is for director Simon Curtis. The two work together to simply mesmerize the audience. As for the intimate moments that take us behind the curtain of Marilyn Monroe, they have a powerful tension as we’re never able to exactly pinpoint who she is at her core. She forever remains a mystery.

The only difficulty with “My Week with Marilyn” is that while Monroe commands the most attention in the film, it’s supposed to be Clark’s story. Redmayne gives the role a nice balance between an ambitious and clever young man a naive boy, but his lesson in love doesn’t hold greater power than trying to understand what’s going on inside the head of Marilyn Monroe.

In addition, the first half of the film focuses on the tension between Monroe and renowned actor Sir Laurence Olivier, played by Kenneth Branagh. Branagh commands the screen almost as well as Williams, so “Act I” is no less interesting than the “Act II” development of Clark and Monroe’s relationship. As Clark perfectly describes it, Olivier at the time wanted to be more of a star and Monroe wanted to be taken more seriously — the opposite of their strengths. Although they don’t come fact-to-face over their issues with one another, the tension runs high.

As that tension shifts to romantic tension when Monroe begins to demand seeing Clark more and more, the on-set conflict never complete dissipates, but it also never holds the same weight. The only constant throughout the film is Marilyn Monroe. Williams never loses her power over the audience. Few performances simply own a film, but this one does.

“My Week with Marilyn” has a strong script, memorable performances, effective direction and that period piece sheen indicative of strong costume work, cinematography and art direction — all the trappings of an award-worthy film. Issues with cohesiveness in the story really hurt it, however, though not enough to question that it’s superbly made.

The way it captures the mystique of celebrity despite peeling back the curtain has no equal, as most films showing us the lives of film or music icons concern themselves with the personal problems and off-screen/stage lives of the main characters. In a scene when Monroe and Clark spend a day together visiting Windsor and they come across photographers, her quiet line to Colin “shall I be her?” captures the mystery of it all, the fine line between the sex symbol who loves being adored and vulnerable girl who would rather be loved.

4/5 Stars

My Week with Marilyn
Directed by Simon Curtis
Written by Adrian Hodges, Colin Clark (book)
Starring: Michelle Williams, Eddie Redmayne, Kenneth Branagh, Emma Watson

Winter comedy and romance revolves around Valentine’s Day, so things don’t get promising for the genre until February. The types of comedies offered in the early going this year are surprisingly diverse including a couple niche market family comedies, a couple action comedies, a Nicholas Sparks-inspired romance and an Apatow-produced comedy.