I love days like this ... or at least, I used to

Several people have asked me my thoughts on today's Oscar nominations. In a word: eh.

The problem with the blog culture - and I guess that now includes me - is that it allows for so few surprises. Everyone has something to say, predictions to make; I read an average of six blogs a day on this very topic. Therefore, it seems as if everyone's nomination had been expected.

Except for one. Each year, somehow, someone surprises us. He or she hasn't popped up on any list from the Golden Globes, SAG, the New York Film Critics, the L.A. Film Critics, the Siberia Film Critics, the Mars Film Critics ... despite being acclaimed by just about every reviewer. Then the Academy somehow takes notice. This year, that person was Tommy Lee Jones, who gave the performance of his career in September's little-seen In the Valley of Elah. I sang his praises in an earlier post.
First review from my class: In the Valley of Elah

I'm very disappointed that Angelina Jolie wasn't nominated for A Mighty Heart. After about 10 minutes, I forgot I was watching America's second-favorite tabloid target. The moment Mariane learns of her husband's death is one of the most devastating on film all year. Before, Jolie has been nothing but measured optimisim, a warm smile, a strong voice. It makes the guttural scream that follows that much more powerful and shocking.

I'm starting to think Cate Blanchett gets nominated just for breathing. The nod for I'm Not There is deserved (more on that later, though); the one for Elizabeth: The Golden Age is another story. First of all, how could anyone hear her dialogue over that ominpresent score?? Second, Elizabeth comes across as a weak teenager with a crush in this film. Yes, it's Clive Owen (drool), but she's supposed to be the leader of the free world! Cate should know better.

Even though I think it's a wee bit overrated as a film, I'm pleased Once received a Best Song nomination. What about music from Hairspray, though? What about the amazing music from Into the Wild? I understand some stupid controversy knocked that and There Will Be Blood out of contention for Best Score (leaving us with, oh no, Atonement), but what about Eddie Vedder's "Guaranteed" for a song nod?

Jonny Greenwood's 'Blood' score disqualified by AMPAS

Speaking of Into the Wild, it also was shafted in the cinematography category. I have several problems with the film, but music and look aren't among them.

The experimental, 100-word review: Into the Wild

Onto the categories. ...

Flick: I've seen all five, and No Country for Old Men should win. It's my No. 2 choice for 2007, behind only The Lives of Others (which won the Best Foreign Film last year). I'm surprised Atonement made it in; I thought the momentum passed it by in favor of The Diving Bell and the Butterfly.

Director: I hate distractions at the movies: snacks, cellphones. people talking to me. However, I have been known to dislike the Coen brothers so much that I spent money to ... well, make out during Fargo. Therefore, to make it through No Country for Old Men with such awe means they clearly should win Best Director. Meanwhile, why was Jason Reitman nominated for Juno? How was that film a feat of direction? Tim Burton would have been a much better choice for Sweeney Todd, and I like Burton about as much as I do the Coen brothers.

Actor: It sounds cheesy, but I'd be happy for anyone here; they're all deserving, What a packed category this is! We don't even have room for my British cutie James McAvoy or the amazing Ryan Gosling. Of the five options, though, I'm going with Viggo Mortensen in Eastern Promises. When I first saw the movie, I said to myself, "Who is this shifty-looking dude with gelled hair, and where is Viggo?" It took literally 15 minutes for me to realize that WAS the hunk from those endless Lord of the Rings movies.

Actress: With no Angie, I'm going with Julie Christie in Away from Her. I saw this movie during the worst of my father's cancer battle in the spring. It wrecked me, and I'll never watch it again. (Christie's character has Alzheimer's, but it was the couple-facing-illness parallels that affected me so deeply.) Besides, she's in her 60s and just luminous. HOWEVER: I haven't seen The Savages (and Laura Linney) yet.

Supporting Actor: Philip Seymour Hoffman would be my pick most years, despite his unfortunate resemblance to my junior-year stalker, but Javier Bardem takes creepiness to new levels in No Country. HOWEVER: I haven't seen Casey Affleck in the movie with the world's longest title (The Assassination of Jesse James by the Coward Robert Ford).

Supporting Actress: It's a tough call here. I feel as if Ruby Dee is the Lifetime Achievement Nomination. I loved Gone Baby Gone (No. 3 on my '07 best), but Amy Ryan wasn't my favorite part. Sandra and I complain that it seems as if women have to ACT to win an Oscar, and isn't that what Blanchett is doing playing Bob Dylan (albeit very well)? That leaves the better performance - 13-year-old Saiorse Ronan in Atonement - against one of my all-time favorite actresses in an only-OK role - Tilda Swinton in Michael Clayton. I'm punting.

Original Screenplay: I haven't seen The Savages, so for now I'm going with Lars and the Real Girl. There's no doubt this was an original story, and it could have been mawkish or creepy beyond belief. However, it's incredibly moving, touching, and says great things about us as people. It made me like Emily Mortimer for the first time! Thanks to my best friend Tim for the recommendation.

Adapted Screenplay: I have a hard time with this category every year because I believe in knowing the original source material, and in this case, I know only Atonement's. I can't form an opinion.

The Siskel and Ebert "Stand Up and Cheer" Award: When Roger Ebert and the late Gene Siskel used to host their annual Oscars show, they had a category for the win that would excite them most. For me, it would be No End in Sight winning Best Documentary. This is an important film, people.