Yes, the Oscars were last night and without putting too fine a point on it, Chris and Matt did reasonably well in predicting the outcome. The only real surprise of the night was Argo‘s win for Best Picture.

Sadly, this was probably a result of director Ben Affleck’s snub for a Best Director nomination. Still, it is nice to win Best Picture. Although, if you ask Argo producer Grant Heslov, who just couldn’t let it go, it wasn’t enough and we really need to know Ben Affleck was the Director of Argo.

No shit. Thanks for pointing that out. Look we get it, you’re angry your buddy didn’t get nominated. Sure, that hurts, but you need to let it go now. Ben is going to be just fine. . . and so are you.

We’re also glad Tarantino got a win for writing Django Unchained and it was nice to see Christoph Waltz take one for that movie as well. He did a great job in it. And lets not forget host Seth McaFarland. Great job Seth. You killed it.

Anyway, for a complete list of winners, click on through. Before that, however, take a look at the trailer for Jimmy Kimmel’s latest opus Movie: The Movie Part 2. It’s pretty funny.

It would seem like Oscar prediction articles should appear on a website like this one, especially if the predictor in question happens to be in charge around here. But for some reason, our Editor-in-Chief Chris Ullrich has decided to plant his predictions flag over at his personal website instead.

However, even if if we don’t understand his motives, we’re sure he has some. Well, pretty sure anyway. Some of his predictions are easy to understand and others are more of the “wish fulfillment” variety. But even if we don’t completely agree with his predictions, or his reasons for making them, the insignt offered into the whole awards “thing” is still quite interesting.

At this point this post probably seems a bit on the self-serving side, and in truth, it kinda is. However, that doesn’t mean the article doesn’t have actual merit. It does.

Check out some of his predictions, and the reasons behind them, after the break. For the rest, check out the full article.

As we’re a site covering the movies, it would probably be a disservice not to put up something about the Oscar (aka Academy Award) nominations which were announced this morning by Seth MacFarlane and Emma Stone. So yes, the nominations are here and as always there’s a few surprises, a few “snubs” and the rest is rather predictable.

Here’s the nominations for your reading pleasure. Look for the actual ceremony, featuring host Seth MacFarlane, to air on Sunday, February 24th on ABC.

Performance by an actor in a leading role

Bradley Cooper in “Silver Linings Playbook”
Daniel Day-Lewis in “Lincoln”
Hugh Jackman in “Les Misérables”
Joaquin Phoenix in “The Master”
Denzel Washington in “Flight”

Performance by an actor in a supporting role

Alan Arkin in “Argo”
Robert De Niro in “Silver Linings Playbook”
Philip Seymour Hoffman in “The Master”
Tommy Lee Jones in “Lincoln”
Christoph Waltz in “Django Unchained”

In celebration of October and all things associated with Halloween, horror, and the macabre, this week’s pick is the John Landis comedy/horror classic An American Werewolf in London (1981). The film stars David Naughton, Griffin Dunne, and Jenny Agutter.

After making a name for himself in Hollywood with such comedy classics as The Kentucky Fried Movie (1977), Animal House (1978), and The Blues Brothers (1980), director John Landis’ next project would further solidify him as one of Hollywood’s newest breed of film makers. An American Werewolf in London is a tongue-in-cheek film that has always been considered a comedy, but Landis says that it’s a horror film with comedic elements.

Landis had come up with the concept of the film while he was a production assistant in Yugoslavia working on the classic war film Kelly’s Heroes in 1970.  While driving through the Yugoslavian countryside, Landis and his driver/interpreter came to a crossroad where they witnessed a gypsy funeral. Landis and his driver watched as these gypsies performed rituals over the dead man’s corpse in an attempt to make sure that he didn’t come back to life and caused mischief.

Jaws (1975) is the first summer blockbuster and is considered by critics and fans alike as one of the greatest films ever made. After success with the TV thriller Duel (1972) and his first theatrical release of The Sugarland Express (1974), director Steven Spielberg set out to adapt Peter Benchley’s novel about a Great White shark which terrorizes a small New England beach community. The screenplay was co-written by Benchley, actor-writer Carl Gottlieb (M*A*S*H*), and an un-credited John Milius who helped with some of the film’s most memorable dialogue like “You’re gonna need a bigger boat” and the legendary U.S.S. Indianapolis speech.

The film opens with one of the greatest sequences ever shot. A young woman leaves a bonfire beach gathering to go skinny-dipping in the ocean while being chased by an inebriated young man. The young man ends up passing out in the surf while the woman swims out to the middle of the channel. An underwater low angle shot represents the point of view of the shark as it begins to stalk its prey. John William’s haunting score builds as the young woman is thrashed around and is pulled under by the shark. This scene did to ocean night swimming, what Psycho (1960) did for women’s showering.

Samuel Fuller’s The Steel Helmet (1951) is one of the most honest, unflinching, in your face war films ever made. Set during the opening stages of the Korean War, the film follows a small squad of Americans who face off against an unseen enemy. Gene Evans makes his big screen debut as Sergeant Zack, a World War II veteran who finds himself in a new kind of war.

The film opens with a tight close-up shot of a steel helmet that has been punctured by a bullet. It’s shortly revealed to be Sgt. Zack who is the lone survivor of an enemy attack that has massacred his outfit. With his hands bound behind his back, Zack tries to free himself. A young South Korean boy (William Chun) comes to Zack’s aid and frees him. The boy is nicknamed “Short Round” by Zack who allows the kid to tag along with him until he can find another American outfit to join up with.

As Zack and Short Round are making their way through a wooded area Zack hears a noise and tells Short Round to “Eat rice”. They’ve come across another American, a medic who is also a survivor from an enemy attack. Corporal Thompson (James Edwards) joins up with Zack and Short Round. It is also revealed that Thompson is a World War II vet and his experiences during the last war mirror that of Fuller’s own combat diaries with the First Infantry Division.

Shortly after, Zack and the others encounter an American patrol led by the green, inexperienced Lt. Driscoll (Steve Brodie) who commands the quintessential, stereotypical squad from most war films. Fuller handpicked most of the actors that represented the different types of service men who were serving in Korea.

Albeit a Sci-Fi classic, The War of the Worlds (1953) is a multi genre film. Based on H.G. Well’s classic novel about a Martian invasion of Earth, the film represents America’s fear of Bolshevik communism in the 1950s. The film opens with a narration sequence which tells the audience why the Martians began looking across the vast sea of space looking for a new world in order to colonize. Of all the planets that were examined by the Martians, Earth was the only suitable planet for their needs.

Screenwriter Barre Lyndon substitutes Well’s England for southern California where the opening stages of the invasion begin. Dr. Clayton Forrester (Gene Barry) is a scientist who is called in to examine a meteorite that has made an unusual landing in the hills outside a small town. At the crash site, he meets a young woman who is familiar with his work. Sylvia Van Buren (Ann Robinson) and her pastor uncle invite Dr. Forester to stay with them for the time being while the meteorite cools off and can be examined.

Keeping an eye on the meteorite and insuring that it doesn’t start any more fires, three men discover that the meteorite is in fact a Martian ship that emerges from the crash site. The three men are quickly vaporized from the heat ray of the Martian war machine.

Lawrence of Arabia (1962) is one of the greatest films ever made and a tie for my number one favorite film alongside Dr. Strangelove (1964). It is one of director David Lean’s most lasting legacies in Hollywood and a truly epic one-of-a-kind film. It was a film that was the inspiration to future filmmakers Steven Spielberg, Sam Peckinpah, Martin Scorsese, and George Lucas.

I first saw the film at the age of twelve when my father took me to the Ziegfeld Theater in New York City in 1989 for the film’s restored re-release. My father told me that it was his most favorite film and that I was very privileged to see it on the big screen. I will never forget when the lights dimmed and Maurice Jarre’s score played before the opening credits of the film. It was the first film that I can remember where my eyes were completely fixed to the screen in fear that if I turned away for a spilt second that I might miss a pivotal moment.

As I began rummaging through the popcorn bag, I looked over to my father who smiled and gave me a wink. My experience seeing the film on the big screen was like for so many others, a film, which made me want to become a director and it solidified my love of cinema from that moment forward.

While the first half hour or so will keep you wondering where all the accolades came from, once the movie gets rolling (and when it does, you’ll know), it’s worth it.

The separation refers to Nader (Peyman Moaadi) and Simin (Leila Hatami), an Iranian couple living in Tehran with their 11-year-old daughter Termeh (Sarina Farhadi) and Nader’s senile father (Ali-Asghar Shahbazi). Simin wishes for Termeh to leave Iran and seek a better life elsewhere. Nader does not want to leave his father. At least those are the reasons they give, but it’s implied that both are merely using the family as an excuse for their own desires to stay or go. Their refusal to compromise leads to divorce proceedings, with Simin going to live with her parents and Nader left to care for his father by himself.

Unable to hold down a job and tend his father alone, Nader hires a young woman Razieh (Sareh Bayat) to help, though she doesn’t do a very good job. Her deeply held religious beliefs conflict with her duties, such as washing the father; she leaves for hours at a time to do personal errands; and she’s finally relieved from duty when Nader suspects her of stealing. And then something happens.

The much-deserving winner of the 2012 Academy Award for Best Foreign Picture (in a precedent-making move, it was also nominated for Best Screenplay, the first time a foreign film has won a nomination outside the foreign category), A Separation is as far as can be from those facile Hollywood flicks in which not a single character behaves from any recognizable impulse or motivation. Although set in an Iranian culture that is in many ways truly foreign (for one thing, the judiciary system, in which much of this story is set, operates completely differently from anything I have seen; this is no Law & Order), the complex intent and heart of each character is absolutely clear, if at times mysterious.

The story is set around a marital rift—the Separation of the title—but it is in many ways the larger tale of an Iran separated by religion, class and privilege. An upper-middle class couple seek to separate because Simin (the beautiful Leila Hatami), the wife, wishes to leave Iran for better opportunities for their teenaged daughter Termeh (played with moving intelligence by Sarina Farhadi, writer/director Asghar Farhadi’s daughter). Her husband Nader (Peyman Moaadi) insists on staying in Tehran to care for his aged father, who suffers multiple health problems, including dementia.

Both characters and their motivations are fully sympathetic and diametrically opposed. Stuck at this impasse, Simin goes to live at her parents’ apartment. The family is split, and Termeh chooses to stay with her father and grandfather.

I heard the Animated Shorts were better than the Live-Action Shorts, so why not check them out? I love animation, but, unfortunately, the selections were seldom my cup of whatever. The bulk (and by that I mean “all but two”) were computer-generated, which is something I don’t flat-out dislike but get really tired of. Animation presents so many possibilities, and yet most of these squander the opportunities. Why even bother if you just want to make it look like real life?

Likewise, many of the jokes come from a slight exaggeration of real-world physics. For example, in Nullarbor (not nominated, but on the program), one character’s car is destroyed. We see him sitting in the chassis. Pause. The motor comes crashing down. Full stop when it hits the ground. Next!

Similarly, many of the shorts are just ugly (but we’ll get to Mr. Morris Lessmore in a moment). Ugly can be great, but I don’t think it’s intentional, from the plodding dreariness of Dimanche to the utter banality of Mr. Morris. Only one short seems to make fun of that, and it’s not even nominated. But yap, yap, yap. Let’s move on.

This week’s War Movie Monday pick is Universal Picture’s first ever Academy Award winning film for Best Picture and for Best Director (Lewis Milestone), All Quiet on the Western Front (1930). The film stars Lew Ayres, Louis Wolheim, John Wray, Ben Alexander, and Slim Summerville.

All Quiet on the Western Front has been hailed as the greatest anti-war film of all time. Based on Erich Maria Remarque’s novel of the same name, the film follows a group of young men who witness the horrors of World War I after being convinced by their schoolmaster that duty to one’s country and to shed blood in defense of the fatherland is a noble deed.

The small group of young men quickly gets their first dose of military life after they endure basic training at the hands of their drill instructor Himmelstoss (Wray) who is the World War I equivalent of what R. Lee Ermey was for Kubrick’s Full Metal Jacket. After just only a few short weeks of basic training, the young men are sent off to the front and are plunged head first into combat.