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FOR YOUR CONSIDERATION

Author(s): Douglas Reese (MI) & James Somerton (Canada)
IT

Directed by William Friedkin
Written by William Goldman
Based on the Novel by Stephen King
Produced by Scott Rudin, William Friedkin
Cinematography by Harris Savides
Editing by Angus Wall
Score by Dario Marianelli

Cast:

Gary Oldman ... Pennywise the Dancing Clown

Adults:

Jim Carrey ... Richard Tozier
Greg Kinnear ... Benjamin Hanscom
Peter Krause ... William Denbrough
Mary-Louise Parker ... Beverly Marsh
Sam Rockwell ... Eddie Kaspbrak
Ben Shenkman ... Stanley Uris
Jeffrey Wright ... Michael Hanlon

Kids:

Emma Bolger ... Beverly “Bev” Marsh
Alex Etel ... Richard “Trashmouth” Tozier
Dillon Freasier ... William “Stuttering Bill” Denbrough
Nathan Gamble ... Benjamin “Ben” Hanscom
Miles Heizer ... Eddie Kaspbrak
Ed Sanders ... Stanley “Stan” Uris
Jaden Smith ... Michael “Mike” Hanlon

1957-1958

Justin Chatwin ... Henry Bowers
Trevor Morgan ... Patrick Hockstetter
Ty Simpkins ... Georgie Denbrough

Tagline: “Open Your Eyes ... and It Falls Into Place.”

Plot:

“There was a storm...

* * *

Derry, Maine – 1957

Georgie chases the boat down the side of the flooded curb and is saddened when it is swallowed up by the street gutter. Peering down into the drain, Georgie fails to see where his boat has gone. He stands up and begins to walk away. “Well, hello there Georgie!” Turning back toward the gutter, Georgie could see what appeared to be a clown. Just an average-looking circus clown. Georgie walks back to the drain and peers down to see the clown, who introduces himself as Pennywise the Dancing Clown. Through much chicanery, from offering Georgie a balloon, to a piece of chocolate, the clown eerily seems to want to draw Georgie closer. The boy never does think about it until Pennywise offers Georgie his precious boat. Made from newspaper, by his big brother, Georgie can't help but to reach for it. And as he does, the clown reaches for the boy's arm and chews the limb off of his body, also devouring his cheek and mouth as to quiet him down.

* * *

Atlanta, Georgia – June 5, 1985

Thirty-year-old Stanley Uris hangs up the phone. And after doing so, he stares at his wife. “What's wrong?” she asks. Stanley only looks back fruitlessly, “I think I'm going to take a shower.” She starts the shower for him as he sits on the toilet seat, seemingly lost in some abnormal realm. It's not until his wife leaves that Stanley strips and steps into the shower. He stands there for a few seconds, looking down at the drain, watching the water swirling down into its abyss. He stares closely at this drain before stepping out of the shower, and walking toward the sink. His wife would come up a few hours later, and would see the shower still running. And through the stylized frosted glass, she could see her husband at the bottom of the tub. She slides open the door, revealing her husband, arms cut open, lifeless. She would glance up and see, written by Stanley in his own blood, two big letters. 

IT.

* * *

Maysville, Kentucky – June 6, 1985

Benjamin Hanscom opens the door to see Richard shining like an angel under the porch light. It's not until Richard explains why he is there that Ben realizes he is an angel with a dark message. Sitting in his office, Ben invites his old pal to some bourbon as Richard talks of an incident in Derry. “A kid was killed, around seventeen years old; thrown over the Kenduskeag Bridge.” He continues. “When they found his body, there was much commotion on what had happened.” He pauses and takes a sip of his bourbon before he continues. “They found him strangely... messed up.” Ben {The standpipe was eerie, but it was also a quiet enough place for me to escape from Henry and Patrick after school. The standpipe was very close to the bridge and I would watch as some of my classmates crossed it for home. I would only sit next to the swamp and stare at the standpipe. But this one particular day was a strange one. I would stare out into the swamp waters and see Dad. Dressed in his army clothes, and smiling. I couldn't grasp onto if I was imagining it, or seeing him for real. And it wasn't until he opened up his mouth and laughed, that I realized it wasn't my Dad. And then, his head would split open, and blood would drench his arms and face. And the laughter would continue. And I would run.} looks at Richard and waits for the words. Richard stares right back into Ben's eyes and tells him upfront. “It's back.”

* * *

Derry, Maine – June 5, 1985

It was all over the news. Two teens murder gay teen over the Kenduskeag Bridge. Only one bit of information gave away more to the story than what everyone else had been seeing. The two teenagers charged of the crime were known to beat the teen down, and literally eat off parts of the victim's body, including the cheek, nose, both arms, both eyes, the penis, and parts of the torso. Richard immediately had a flashback to he body of Georgie by the gutter; the same limbs vacant from the body. Richard would remember the times with the Losers Club. Georgie's older brother Bill Denbrough, Bev Marsh, Eddie Kaspbrak, Mike Hanlon, and Stanley Uris. He would call them all up to tell them of the incident at Kenduskeag, and how It has returned. But when it came to Ben Hanscom, he would need to find him. An architect in New York City. After the five phone calls, Richard would swipe his wife's keys.

* * *

Derry, Maine – The Derry Standpipe – July 15, 1958

They exit the sewer, one by one. All seven of them walk across the muck before arriving to the banks of the Kenduskeag Bridge. Stanley looks at his friends, all who seem to have the look of fear, and pleasure from what they have accomplished. “We make a pact,” Stan says. “That if It ever returns, we will come back to Derry. And we will destroy is again.” He would hold is hand out. Bill looks at everybody's reaction and could tell it was something none of them wanted to do. Bev makes no hold back as she places her hand on top of Stanley's. “I swear.” Ben would then place his hand onto hers, as would Mike, Richard, and Eddie. And Bill would only stare at the towering hands before he would make his choice. He would place his hand on the top of Eddie's. “I-I-I s-sw-swear.”

* * *

Bangor, Maine – Vice Amsterdam Airport – June 8, 1985

Beverly arrived at the airport and stared at her group of friends who had waited for her by the coffee shop. She was both happy and devastated to see them, and what had happened to Stanley a few days prior could not help much. And the part that was glad to see the others of the Losers Club would surely fade, as they all were the least bit excited to see her. Richard greeted her with a fake smile. She would hug him, and she would hug Ben. And she would hug Eddie, who would secretively greet her with a squeeze of her ass. {The light shines into my eyes, but I close them in order to block them from stinging. I see his shadow silhouetted by the bright light in the doorway, and he walks toward me. Stands beside me. I feel his hand reach through the bottom of the covers and up onto the outside of my underwear. And it's then when he tugs my undies off, and puts his hand on me, bare. I would open my eyes and I would see his face. The light would glisten off pale white painted skin, the top of his dead fluffed frizzy green. He had an excited grin, light glistening off his teeth. His eyes were wide, dark, but rimmed with a blood red surrounding. He would laugh. That high-pitched, terrifying laugh.} Moving to Bill, he would be quiet with his hug, hardly would he speak anymore with his stuttering problem. And when she arrived to hug Mike, he would stare directly in her eyes. He speaks one word: “Wait.”

* * *

Derry, Maine – Sewer – July 15, 1958

Bill and Bev walked down the stairs until they were deep into the sewer. The smell was dire, and Bev had to keep herself from barfing. Bill held tight onto her hand as they approached what seemed to be a door that went somewhere. With red paint, the door was marked with a bizarre bunch of scribbles, which more than likely was a symbol or sign. A marking of It's territory. The two both run out of the sewer and onto the standpipe where they run into the rest of the Losers Club who were waiting. “It's down there,” Bev states. And they all dread those words.

They all walk slowly down the steps to the sewer again and they shine a few flashlights around. Bev points out the doors and they all stare at it. Eddie's eyes widen as he stares at the marking of the door. “Is that blood?” {They were arguing again. Not sure of what this time but their yelling sounded like a mumble through the walls. I would stop brushing my teeth just to try to listen. But all I could hear was a creepy chuckle. But it was not mumbled. It was close. In fact it seemed to be coming from the sink. I stare down at the drain as the chuckle began to grow louder. Then there was blood. I knew it was blood the moment it came up. It sprayed up like a geyser and began to cover the mirror in red. Eventually the whole bathroom is covered. And then, I am covered. I close my eyes tight and bury my head into the wall. The laughing is louder, it rings the ears. The bathroom door opens. 'What's going on?' Dad would say. And I'd look at him. And at the bathroom. And at myself. The blood is gone, and so is that chuckle.} “No, Eddie, it's paint,” Mike would say, unsure of it himself. Bev would look at the door, and not help but to smell the strong stench of the sewer. “Should we go in?”

There is laughing.

And it sounds familiar...

* * *

Derry, Maine – Cracking Coconut Lodge – July 8, 1985

Derry had not much changed since the 50s. It's still quiet. It still features that dark and mysterious under current. A creepy feeling of dread. And it was obvious to the six aged members of the Losers Club that It was the reason. The Cracking Coconut Lodge was a fancy motel in the town. It was added during the 80s – back then too expensive to spend a night in. Now, it's cheap. It's not as well polished. And it is obvious it's a drug haven. The entire clan would stay in rooms 7-9.

Room 9

{I turned around to see Eddie was fixing fully nude. “Put some clothes on!” I tell him. But he does not listen. I walk outside to feel more comfortable, light up a cigarette and stand under the roof in order to be shielded from the rain. The lights of the lodge would glare off wetness and I would watch as every drop would thrust splashing designs onto the swimming pool outside the motel. I hear the door to the room open and I turn to see Eddie, still unclothed, walking out onto the deck. “Eddie?” He doesn't respond. He only stares and smiles.}

Room 7

Bill makes an effort to not bring up Stanley. He knows it should be, but feels it shouldn't. And after he had removed his clothes, he stared at himself in the mirror, {I'm wandering the balcony of the theater, ignoring the sign saying STAY OUT. It is empty, all except for two seats that are inhabited by two figures. Henry Bowers. Patrick Hockstetter. There was an odd movement coming from them, a weird shaking from Henry's right hand, and Patrick's left. I would walk down the aisle, getting closer toward the two and when I got close enough, I could see what they were doing. 'What the fuck?' Patrick would say. And Henry would jump. The two would pull their pants back up and begin to scream. I would start to run away, but Henry manages to zip and button his fly and catch up to me way too quickly. He would tug at my shirt with enough force to drop me to the floor. And he would hold sit on my back, hold my face to the floor, and tell me if I told anyone, he would kill me. And to make sure of it, Patrick held a knife to my throat and reminded me of the dogs and cats he had slaughtered and stuffed in his freezer. Henry would then tug down my jeans as Patrick would put the knife closer with one hand, and cover my mouth with the other. I would try to scream, but the sound would not take soar. Henry's pants were down, and he was on top of me. And I would only stare at the bottoms of the theater seats. Patrick was yelling. Henry was grunting. And under one of the seats was the face of a clown. It was laughing.} before exiting the bathroom.

Ben was lying in the bed, ready to fall asleep. Richard was digging through his clothes. And Bill would lay in the other bed. And he would hear Mike scream.

They would all run out onto the deck of the motel and see blood drenching it. And they would look out into the rain and see Mike hanging from the light post above the pool. Missing his cheek. Missing his nose. Both arms and both eyes removed, as well as the penis. And not to forget, parts of the torso.

* * *

The seven members of the Losers Club look to their left, directly into the direction that the laughter had been coming from. In the darkness would arrive Henry and Patrick, both holding knives. Both grinning. The two would speak to the Losers of how they were not going to leave the sewer until they got what they wanted. Richard {I could have sworn I saw it. So I walked closer. It was. It was what I thought. Dad was lying there, he had blood on his hands. And he was crying. 'What's wrong Dad?' He would look up. He would stare correctly into my eyes. And he would cry. 'I killed her.' And then he would cover his mouth with his hand to hold back laughter. 'I killed your mother.' He would look up, blood over his lips and laugh. And it was a laugh I never heard from him before.} would speak up before the others. “What do we do?” And one by one, the Losers Club would forcibly take turns removing an article of Bev's clothing. It would be until she was completely nude and standing in the smelly, dark, dripping sewer that she would have to lay on the ground. Forced to spread her legs, one by one, the Losers Club would take turns on Bev, while Henry and Patrick would watch, with their pants down. 

* * *

Room 8

Beverly had her eyes shut. Her mind set on tomorrow morning, and she was dreaming. And when the light would shine on her face would be when she would squint open her eyes. The light would burn, but she could make out a figure moving toward her. Arriving beside her, she would see an erect penis, and looking further up, would see a hairy chest. The man's hand would reach through the bottom of the covers and it would lead onto the outside of Beverly's underwear. He would tug at her undies until they were down to her knees, and he would slip his finger inside of her. He was now kneeling beside the bed, and she could clearly see that the man was Eddie. He would adjust Bev to lay on her back, and the covers would be thrown off. Eddie would get on top of her. She would hike her legs over his buttocks and down his legs, and the two would move. At first slow, but then fast. And then it would happen. That sharp feeling of heaven, brushing throughout her veins, and she would look up at the ceiling as it would occasionally blur. Eddie would then begin to stutter as he would tightly squeeze the bed's sheets. And he would stop. He would stand up from off her. And he would notice the blood. His penis, his and Bev's legs, and the bed, drenched in blood. And he would walk into the bathroom. Bev could hear the shower run, and she would only stay still. And she would remember her dream.

* * *

...and two trapped in it.”

What the Press Would Say:

William Friedkin does best in psychological horror with this chilling adaptation of Stephen King's massive horror bestseller. Assembling an astounding cast and crew, Friedkin helps bring forth a brilliant example of filmmaking, staying beyond the lines of unconventional storytelling and provoking the audience to keep attention. A beautiful marriage of sound and imagery, “It” proves of Friedkin's meticulous direction with drawing horror from the depths of the human condition, showing seven characters at their most raw, and showing a bold connection they have within the past, and within a twisted soul. Most will be baffled by “It”'s revelation; an out-of-the-blue example of audience vulnerability, as the viewer is thrown face-first into the real intentions of the film. A hallucinatory landscape of human vulnerability and how the past affects a person. Friedkin has directed a visionary epic, that hides answers in the surface of it's actual setting. 

For Your Consideration:

Best Picture
Best Director – William Friedkin
Best Adapted Screenplay
Best Actor – Jim Carrey, Peter Krause
Best Actress – Mary-Louise Parker
Best Supporting Actor – Gary Oldman, Sam Rockwell

Author(s): Patrick D. (NY)
Uncomfortable Nothings

Written and Directed by: Nicole Kassell 

Cast: 

Roger Moore as Jacob Wagner 
Ellen Burstyn as Amy Seigar 
Donald Sutherland as Bobby Kenul 
Josh Brolin as Walker Seigar 
Mark Strong as Richard Wagner 

Plot: “I swear, Amy. I swear. If I had thought he would’ve had his whole life consumed by this… If I had knew that Jacob would never move on, that he would never find what he wanted… I’d have told you what he told me. And I’ve never regretted anything so much, Amy. I am so sorry, I swear to God, I am so sorry… I remember one day we were talking about it, you, him… And he said to me “Bobby, I love her. I do. And I would rather be comfortable friends then uncomfortable nothings.” What he meant, or I assume he meant, was that he would sacrifice any feelings he had for you, just so you two could know eachother. He was just so afraid of losing you…He didn’t care about anything else. For sixty years, I believed that… It took me until now to realize it was only you that he cared about. And after you met James… I didn’t think he would ever look at you again…I was wrong, wasn’t I?” 

Jacob Wagner ( Moore ) and Amy Seigar (Burstyn) met in the Spring of 1948. They were introduced as potential lovers, which was sidelined quickly for a normal friendship. Amy was happy with this decision and met someone else, a young man named James Seigar, which began her life as Mrs. Amy Seigar. Jacob though, never found anyone. Jacob never tried to find anyone. Jacob was alone until 1948. 

On October 29th, 2008. James Seigar died. This is what brought together three old friends. Amy, Jacob, and Bobby (Sutherland). Amy, still devastated by the loss of her husband, is comforted by Jacob and Bobby. All Amy sees in them are great friends, friends who are there when she needs them the most, friends who will be there forever…Sadly, that isn’t what Jacob sees. 

When Jacob confesses his love to Amy, she’s shocked. She never thought of him in this way, and doesn’t think she ever will. But Jacob loves her, and does anything he can to prove it to her, in case waiting 60 years wasn’t enough. Is Amy going to try and force Jacob to think of her as only a friend? Or will she begin feeling for Jacob what he’s felt for her for 60+ years? 

What the press would say: 

Sad. What more can I say? We all know the feeling of having a broken heard, whether you’re 16 or 60, but this is just terrible. Roger Moore probably gives the best performance of his career as Jacob. One that I personally feel is even more accomplished then his James Bond roles. If he’s remembered for anything, it should be this, because I’ve never seen such an emotionally devastating and complex role in quite some time. He plays the worlds strongest weak man. He can’t stand up for himself, but if I was in his shoes, I’d have drunk myself to death. This isn’t to say Burstyn loses any spotlight. Her character is equally as complex. Her opinion on the matter changes every minute of every day, never knowing what to do or say. It’s breathtaking to watch such a performance. Sutherland does what he does best, says spine-tingling monologues and gives the movie more class then it probably needs (not to say it’s a bad thing). And while it’s a small cast, it’s definitely a strong one. (Strong? GET IT?!) Josh Brolin and Mark Strong make their bit parts stand out. Brolin plays Burstyns son with wit and stays on his toes while Mark Strong continues his string of effective supporting roles and really gains the audience’s sympathy. My biggest compliment though has to go to writer/director Nicole Kassell. The direction is extremely smooth and subtle, pulling at the heartstrings just enough. And the screenplay… All I can say is that both the above monologue by Bobby and Jacob’s monologue about the end of his already doomed 2-month marriage sent chills down my spine. If this isn’t dramatic filmmaking at its finest, I don’t know what is. 

For Your Consideration

Best Picture
Best Director – Nicole Kassell
Best Original Screenplay 
Best Actor – Roger Moore
Best Actress – Ellen Burstyn 
Best Supporting Actor – Josh Brolin 
Best Supporting Actor – Mark Strong 

Author(s): DW Dillon (NV)
Heart of Ice

Directed by David Fincher
Written by Ted Tally and Paul Dini
Based on the teleplay by Paul Dini
Music by Phillip Glass

Principal Cast:
Kiefer Sutherland - Dr. Victor Frise
Liev Schrieber - Det. Simon Trent
William Hurt - Ferris Boyle
Winona Ryder - Sloan Boyle
Kristin Scott Thomas as Nora Frise

Tagline: "Their love unbreakable. Their lives frozen in time."

Synopsis: It is a cold winter's morning in Nova Scotia, Canada, where one Dr. Victor Frise (Kiefer Sutherland) warms up to his wife, Nora (Kristin Scott Thomas). She lays shivering as the cold sweats take over her body. Suffering from an inoperable disease of the brain. "I failed you. I wish there were another way for me to say it. I cannot. I can only beg your forgiveness, and pray you hear me somehow, someplace...where a warm hand waits for mine."

Dr. Frise, with his wife on her death bed, feverishly works up a storm in his lab at Life-Corp to finish up on his invention of a cryogenic machine that will stalemate her death in time for him to work up a cure for her illness. "It would move me to tears if I still had tears to shed", says Nora as her husband lays her inside the cryogenic chamber. Frozen is her body, alive is heart and mind inside the machine. 

After 3 months, and millions of dollars, Dr. Frise has gone far with his advances but not far enough. His project is halted by the head of Life-Corp, new CEO Ferris Boyle (William Hurt). An inhumane human being, with an endless ego. Barging through the lab doors with security, he terminates the desperate doctor's hopes of saving his wife.

Thrown into the dark and cold abyss of depression lies a brilliant scientist with nothing to lose. Caught by the eye of Detective Simon Trent (Liev Schrieber) is the missing persons case of Sloan Boyle (Winona Ryder). Det. Trent, whose knack for the criminal psyche and attention to detail has solved many of crimes, but he now enters the most puzzling one of all. Father of the victim, millionaire Ferris Boyle seems nervously unhelpful. While many enemies desire the fall of Ferris Boyle, they would not dare take their revenge out on his innocent daughter, Sloan.

Ferris Boyle picks up the phone. That uneasy whisper of the voice on the other line chills the millionaire's spine. "The snow is beautiful, don't you think? Clean, uncompromising...cold, like the swift hand of vengeance." The caller hangs up. Boyle cries as he slumps into his chair and writes out another check to Dr. Victor Frise.

Det. Trent stomps through the snowy walkway of Dr. Frise's un-shoveled front porch. Following an unusual money trail, the detective inquires about the transactions of funds from his former employer, to which the doctor vaguely answers as compensation. A loud mechanical noise rustles below in the basement. Another vague answer is given as Det. Trent is escorted out. His suspicion grows as he leaves the chilling house of the doctor. Frise shuffles his feet down the stairs of his basement. His left hand runs over the peaceful eyes of his wife, Nora, as she lies stone cold, alive and sealed, as his right hand taps the glass of another cryogenic chamber. In it, the duel-fated Sloan Boyle. Her hands pressed up against the glass, her eyes alive, her body frozen.

"To walk on a summer's day with the hot wind in your face and a warm hand to hold. Oh yes, I'd kill for that..."

What The Press Will Say?: To explore the depths of love, one may bring themselves beyond the realm of sanity. This is where director, David Fincher lays the groundwork for his new film, "Heart of Ice". Adapted from Paul Dini's acclaimed and award-winning Batman teleplay, Fincher explores the conflict and contrast in each character and each setting. The duality of humanity rests upon the performances of Kiefer Sutherland as the distressed Dr. Frise and William Hurt as CEO Ferris Boyle. In Sutherland's Frise we witness a man with a warm heart encased in a frozen chamber, where as Hurt's Boyle's is dead on the inside. Hurt portrays a powerful man subjected to a compromising state of mind that he's never felt before. In Sutherland's deep and raspy cold demeanor, we receive a chilling thrill ride of frightening proportions because of a man who could love so much, be so vulnerable and unpredictable. Through the eyes of Detective Trent (played by Liev Schrieber) we are able to witness both sides of the coin as they both struggle with loss. Kristin Scott Thomas plays the ill-fated and much beloved wife Nora Frise is the catalyst to the war of right and wrong that is being played between the business mogul and estranged doctor. This is a film not for the fate of heart. This is a film not for the close-minded. This is a film full of performances that will mesmerize and scenes that will captivate your mind. You will leave the story hoping for the best, but not knowing if it's right or wrong. Through the depths of love you will find the answer in "Heart of Ice".

Best Picture
Best Director - David Fincher
Best Actor - Kiefer Sutherland
Best Supporting Actor - William Hurt
Best Supporting Actress - Kristin Scott Thomas
Best Adapted Screenplay - Ted Tally & Paul Dini
Best Cinematography - Roger Deakins
Best Editing - Michael Kahn
Best Score - Philip Glass
Best Art Direction - Tom Duffield

Author(s): Al (NY)
In the Heights

Directed by Thomas Kail
Written by Quìara Alegrìa Hudes and Jonathan Levine

Carla: Janet Dacal
Nina Rosario: Rosario Dawson
Sonny: Robin de Jesús
Kevin Rosario: Luis Guzman
Benny: Christopher Jackson
Camila Rosario: Priscilla Lopez
Abuela Claudia: Olga Merediz
Usnavi: Lin-Manuel Miranda
Vanessa: Karen Olivo
Daniela: Ana Ortiz

Plot/Synopsis:
Lights up on Washington Heights, the poorest neighborhood in all of  upper Manhattan. It's July 3rd, the hottest day of the year, and some  neighborhood punk is tagging up the corner bodega. The bodega's owner Usnavi comes running in to stop him. As he cleans the paint off his  awning, he begins to introduces to his neighborhood, the people around

him, and his life. He's owned this bodega ever since his immigrant  parents passed away and his Abuela (only in spirit) Claudia raised  him. An immigrant herself, she fusses over Usnavi constantly and scratches off lottery tickets daily. Daniela and Carla, the chatty salon ladies come in for their morning coffee, along with Vanessa, a hopeful young woman who works for Daniela. Usnavi harbors a huge crush on her. His teenage cousin Sonny, who begrudgingly works for him,  encourages Usnavi to finally ask her out along with Benny, the youthful and ambitious cabdriver who works at Rosario's Dispatch. The middle-aged owners of Rosario's, Camila and Kevin, are especially excited for the coming day - their only daughter Nina is returning from her first year at Stanford. But when Nina comes home, all she has to show for it is shame. Working two jobs to pay her way through college started to affect her  grades, and so she lost her scholarship. The neighborhood's bright shining hope is gone. To deal with the pressure, Nina begins hanging out with Benny, who encourages her to find a way to go back to school. Usnavi finally works up the courage to ask Vanessa on a date. They go to a dinner at the Rosarios' together, where Kevin has some surprising news for his family and friends - he has decided to sell his dispatch and become a mechanic again in order to send Nina back to college. 

Everybody is shocked and devastated, especially Camila, who he didn't ask before making his decision, and Benny, who's now losing his job because of Nina. Kevin forbids him to pursue a relationship with his daughter. Later, at a dance club, Vanessa ignores Usnavi and Nina and Benny get into a fight. In drunken rage, Benny starts a brawl. Before it can escalate, the lights go out. Washington Heights is engulfed in a blackout. When Usnavi finally gets home to Abuela, she has news for him; she has won the $96,000 lottery jackpot. In the blackness, Nina tells Benny she doesn't need him, but as fireworks go off in the distance, they cling to each other and share a kiss. Lights down on Washington Heights.

What the Press Would Say:
It's early morning on a street in the Washington Heights era of Manhattan. A hoodlum is tagging up a corner bodega. A Latino man runs in to stop him. Once he has taken care of this, he turns to the camera and begins rapping to us, introducing himself and his neighborhood. He is Usnavi, wonderfully played by Lin-Manuel Miranda, and he is the narrator and star of "In the Heights", the film based on the Tony-award winning musical. Miranda also wrote the score of this movie (his film debut), and it is as vibrant as the photography, filled with salsa and rap, tinged with Latin flavor. I'm not going to provide a full recap, but "In the Heights" provides a glimpse at three days in the life of a tight-knit Latino community in the Washington Heights area of Manhattan. There's Usnavi, the kindly owner of the corner bodega, Daniela, Carla, and Vanessa, the gossipy salon ladies whose rent went up so much they are moving to the Bronx, and Abuela Claudia, the old woman who provides the neighborhood's soul. There's Benny, the hard-working taxi driver, 
Camila and Kevin, the owners of a taxi dispatch, and Nina, their daughter, who dropped out of college.

Quiara Alegria Hudes' original book was a bit shallow, but with the help of Hollywood vet Jonathan Levine, it is funny, sweet, heartwarming, and a lot less like a telenovela. Many Hollywood insiders had doubts about whether Thomas Kail, the director of the original stage production, could successfully make the screen transition, but he pulls it off flawlessly. The movie flows along at a steady pace, embellished with beautiful tracking shots and camera angles. These are the most well-shot musical numbers since the classic movie musicals of the '60s, particularly "96,000", a sequence in which the full cast dreams about what they'd do with a lotto jackpot.

In his film debut, Lin-Manuel Miranda (who reprises his stage role and wrote all the songs) is magnetic. Every time he's on screen, you can't take your eyes off him. He raps, dances, and acts beautifully, flitting through the film like a hummingbird. He IS Usnavi. Rosario Dawson, who wasn't in the original cast, seems a little uncomfortable with material in parts, but all in all she does a great job carrying most of the dramatic weight as Nina. Robin de Jesus steals a couple scenes as Usnavi's teenage cousin Sonny, but isn't anything legendary.

"Ugly Betty"''s Ana Ortiz, as Daniela who owns the corner salon, owns every scene she's in, so it's a shame she isn't in more. She's absolutely hilarious and threatens to steal the whole movie, particularly in "No Me Diga", a 3-minute stream of gossip set to music. Longtime character actor Luis Guzman, who wasn't in the stage version either, takes on the role of Nina's father Kevin, who makes the ultimate sacrifice for his family. This is the role of a lifetime for him, and he imbibes it with so much heart and pain it's shocking. Broadway veteran Olga Merediz, who plays the kindly Abuela Claudia, isthe real soul of the movie. As the immigrant woman who raised Usnavi, Merediz makes us feel for her struggle, especially in her blowout number "Paciencia y Fe (Patience and Faith)", in which she reminisces about her life as a girl in Cuba and her first years learning the ropes in America.

"In the Heights" has been compared to West Side Story, but in my opinion, it's a Latina "Fiddler on the Roof". It's all about a tight-knit, poor ethnic community trying to find something to hold on to as everything they know changes. It can be unabashedly sentimental at times, and yes, a little cheesy, but that's refreshing in these dark days. Whether or not filmgoers embrace this little film that could is a mystery, but I know I'm sold.

Best Picture
Best Director (Thomas Kail)
Best Adapted Screenplay (Quiara Alegrìa Hudes and Jonathan Levine)
Best Actor (Lin-Manuel Miranda)
Best Actress (Rosario Dawson)
Best Supporting Actor (Luis Guzman)
Best Supporting Actress (Olga Merediz)
Best Supporting Actress (Ana Ortiz)

Author(s): Tony (PA)
Jacare

Directed by Stephen DaldryWritten by Nancy Oliver
Produced by Ross Katz
Music by Mychael Danna

Principal Cast:

Brandon Gleeson as Tom Carver

Abbie Cornish as Jeannie Carver
Virginia Madsen as Brenda Worthington
Toby Jones as Ray Worthington

Tagline:  "They wanted seperation; they needed each other"

Synopsis:  Tom Carver is a bitter man for reasons caused by others and mostly himself.  It takes a lot to get a rise out of Tom.  Every day he wakes up and finds himself angry upstairs, numb downstars.  Five years ago it was a devestating car accident that made Tom paralyzed from the waist down.  It's not like he can blame anyone for his mistakes after drinking profusively that night.  He promised his wife at the time, Brenda, and daughter, Jeannie, that he quit the addiction.  At the time, Jeannie's goal in life was to spend time outside of America in Brazil, where she would experience a new life adventure.  Tom disapproved this dream while Brenda admired it.  After the accident, Jeannie left for Brazil, leaving her father something to think about.  One year later when Brenda filed for divorce.

Tom now fills his time with battling the city on multiple occasions.  He's now demanding money being spent on filing down the ends of sidewalks for cripples to use when roaming the streets by wheelchair.  Of course, this case isn't without the shouting and ethnic slurs in typical Tom Carver fashion.  He takes full advantage of his handicap from cutting in line at the grocery store to free season pass sporting tickets.  While Tom had a poor choice of words, he's had plenty of time to study law and every other use he could have to look down on others.  He gets visits from Brenda so often, with her husband Ray.  Ray was very fragile, which led to Tom ordering Ray to do the dirty household chores and even massaging his hands.  One day, Brenda informs Tom of the news; news that regarded the last person on earth he wanted to see.

After five years, Jeannie returned to the states.  She explained she lived poorly with her ex-boyfriend and the time spent was enough.  To her request, she wanted to stay in the house she was raised in, Tom's.  Despite Toms displeasure and anger, deep down he wanted to her to stay.  It's not Jeannie's will to make up for lost time and bring new life into her father.  Tom continues with his sarcastic, angry wit and Jeannie often times fights back.  In seemed hopeless after a family dinner that resulted in argument and Tom leaving the house.  That night he left for the bar and didn't come home, finding himself in a hospital bed after acting violently drunk the night before.  Jeannie is the only person in his room.  It was then he let her reach out to him.  He opens to her by going on numerous adventures such as seeing Phantom of the Opera, pulling pranks on Ray, getting Jeannies first tattoo, and learning more about the culture of Brazil. 

The day had come when Tom went into Jeannies room to wake her, only she didn't wake.  The room went instant cold; he grabs her wrist only to feel no pulse.  There was no bringing her back.  Later on, they'd discover she died from dengue; a virus caused from the bite of a mosquito in Brazil.  It's rare that those who suffer from it show no signs of the symptoms, but still suffer dengue shock syndrome, leading to death.  Tom never knew whether she knew or not she had this virus, but what did it matter to him now.  Tom goes outside to notice one street corner has been filed down; he hangs his head in shame, and cries.  He carves the word "Jacare" in her tombstone when he remembers what he said the first time he saw her in her baby crib; she had looked like a baby alligator.  

What the press would say:

"Jacare" is the latest film from Englands own Stephen Daldry and written by Academy Award nominee Nancy Oliver.  Daldry brings us an exceptional, truly inspiring and moving, emotional and poignant gem that's sure to get the attention of the entire nation.  Words cannot do the justice the way Daldry captures the true bonding essence of a father/daughter relationship and the smart dialogue, yet brutal truths it provides.  This film will give you some of the best laughs of the year, but do not discredit it's raw approach to give us that breath-taking naturalism.  Often times it's the silence, looks, and gestures that leave so much to the imagination.  "Jacare" feels subtle, though the emotional moments are all the more powerful because of that.  What Daldry does is show the audience what the characters see, inform the audience of what the characters know so we can make our own conclusions as they do in the film.  Here, you have a father with a dreadful hatred towards his daughter, whom he feels has betrayed him by leaving him to do what she wants.  She returns five years later and doesn't reveal much as to why she wants to reunite with her father.  Now, we go through each bump and bruise this relationship takes, which results to an all time high as far as comfort and happiness goes.  We feel great, until the ending that seemed like these characters were meant for doom.  It's impossible to notice every bit of symbolism and metaphors after only one showing.  After Jeannies death, Tom sees a sidewalk filed down at his request.  He realizes all the time wasted dealing with trivial events and forgotten what he really cared about in life. 

Playing the role of Tom is underused Brandon Gleeson.  At the start of the film, we laugh in shame, we laugh in pity towards this character, the way Gleeson races across his living room in his wheelchair, waiting to rain on someone elses parade, always looking smug and full of disgust.  However as the minutes progress, we begin to feel for this character and wonder why we were laughing in the first place.  The only time Gleeson cracks a smile is when he makes Ray shiver by the sound of his voice.  Once Jeannie is back into his life, Tom doesn't know how to react.  He's not been used to the company and comfort someone can provide him, so he reacts with rage and dispair.  It's not until a close encounter when he realizes she's the only person in this world that's not thoroughly disgusted with him.  It's a beautiful, honest, humorous, and powerful portrayal of a father reinventing himself for the sake of his daughter.  Abbie Cornish plays the daughter, Jeannie.  Cornish has been under the radar but dazzled us with her role in "Candy" and now seals the talk about her being the next Hollywood hit in this role.  Cornish serves as Tom's guardian angel in some respect.  At first she takes the verbal abuse as Tom makes the guilt sink in more and more, but she never quits.  Abbie brings true determination in her performance and makes the audience believe in her actions and admire her will.  Her breakout scene is where she awaits for her father to awaken from his hospital bed.  It's the first scene where she results to physical contact to reach out to her father by holding onto his hand; as she finally convinces Tom she's not the stubborn girl she once was.  Cornish doesn't hold back and delivers her lines in the most timely and great fashion.  Lastly is Virginia Madsen.  Virginia stars as the character that wants nothing but the best for the both.  She's kept in contact with Jeannie and Tom throughout those five years and tries to help in the best way possible.  Although her character always seems to be nagging on Tom in a joking manner, it's not until the dinner scene where Glenda takes Tom's words to heart and begins to break apart.  Her mood is determined by where the father/daughter relationship stands.  Her final scene is holding her ex-husband in her arms after the death of Jeannie.  She whispers words of wisdom, words of hope, but not before shedding tears herself, truly heartbreaking to watch.

Lastly, there's the name "Jacare."  Jacare is simply Toms way of remembering Jeannie after her life in Brazil and not through the time he wasted away without her.  It's his dedication by taking a wonderful image of his newly born daughter and combining it with the high spirits and warmth she brought when she came back into his life.  With these captivating performances and an authentic, mesmorizing script, "Jacare" is the humble, funny, and sophistated comedy that's sure to appeal to your head, ears, funny bone, and heart. 

FYC:

Best Picture
Best Director - Stephen Daldry
Best Actor - Brandon Gleeson
Best Actress - Abbie Cornish
Best Supporting Actress - Virginia Madsen
Best Original Screenplay - Nancy Oliver

Author(s): Al (NY)
Coach

Directed by Barry Sonnenfeld
Written by Andrew Niccol

David Cassert: Matthew Broderick
Mike Stern: Jason Bateman
Sarah Fogel: Jenna Fischer
Andrea Stern: Tea Leoni
Melanie: Amy Ryan
Kevin Fogel: Nathan Fillion

Plot/Synopsis:

Alone in his basement, David pops in an oldies CD. Sitting on his couch, he takes in the music motionlessly. Later on, he flips on Discovery Channel and falls asleep watching animal documentaries. This is pretty much what David does after he comes home from work. He has no romantic partner, no ambition, no home except for his sister's basement, and no hobbies.

His younger sister Sarah's worried about him. She loves him dearly and doesn't really mind having him in the house, but she feels that it's time for him to get on with his life. She gave up her career to stay at home with her perfect, earnest husband Kevin, who brings her flowers after work sometimes and always does the dishes when asked. On the paper placemat at a diner, she sees an ad for Mike Stern, a life coach who promises to get any client's life back on track fast. And so, she sets up an appointment between David and Mike.

Mike seems like the perfect guy for the job - he's smart, articulate, friendly, has a nice house, two kids, and a wife. After a bit of prodding, David agrees to give him a shot. Mike teaches him how to be assertive, move up at his job, pursue Melanie, the quiet DMV lady who he has a big crush on, and get his own place. Sarah is impressed by how fast David's developing and how talented Mike is. David realizes that he kind of likes having a guy friend, someone he can talk to. Things are looking up for him.

David and Mike become closer and closer. Mike invites him over for dinner at his house to meet his family. Once he's there, however, David realizes that Mike might need some coaching of his own. He and his harried wife Andrea have a terse, fragile relationship, his children hate him, he's having money troubles, and he's having trouble figuring out what he really wants to do with his life. David realizes that he needs to help Mike just as much as Mke needs to help him.

What the Press Would Say:

If you look at the New York Times best-seller list today, it's loaded with self-help books. What people love more than anything nowadays is people telling them how to fix their lives. Americans are more stressed than ever, gaining more weight, and now with the economy tanking, having trouble with their money. Comedy director Barry Sonnenfeld touches on this phenomenon with "Coach", his new film dramedy that doesn't break much ground, but is still a great film. "Coach" centers around the relationship between two very different yet somewhat similar men. David, a 40-something goodnik who lives in his sister's basement and has less ambition than he does charisma, enlists the help of Mike, a cheery, friendly life coach full of vitality who promises to get David's life "on track". What we find out over the course of the film is that David's really the one with life all figured out and Mike's the one who's trapped in a mess. The two men eventually develop a great friendship that provides the groundwork for the movie. "The Truman Show"'s Andrew Niccol has a tendency to veer into the sentimental in his screenplay, but just when you think you know where he's going, he swerves off in a totally different direction. There aren't many laugh-out-loud moments, but I cracked a smile often. Barry Sonnenfeld occasionaly has trouble getting the camera to like his actors, but he ties the film together very nicely.

Matthew Broderick, as sad-sack David, gives the performance this reviewer has been waiting for ever since "Election". In his early scenes, when he is quiet and reserved, you can't help but love and pity him. But later on, as he decides he has to move on with his life, he's stirring and stunning, especially when he delivers a two-minute monologue at the eleven o' clock mark that will leave you speechless. He is sure to earn his first Oscar nomination in this role, and I'll certainly be rooting for him to win. Jason Bateman (campaigned in the Supporting category to give both stars a shot) is less powerful as Mike, but still turns in a great performance as a family man who can't quite admit that he has problems just like everyone else. When he takes off his "life coach" mask and shows that he suffers just like everyone else, we see how far Bateman's come from being a teen superstar. Tea Leoni is heartbreaking as Mike's long-suffering wife, and Amy Ryan does a great job with limited screentime as the woman of David's dreams. But among the supporting players, the standout is without a doubt Jenna Fischer. Though the character of Amy, David's sister is very similar to her Emmy-nominated role on "The Office", she's still unbelievable. The kind, saintly rock in David's life, she quietly smiles her way through every misfortune that life throws at her. Her on-screen persona provides the film's soul and center. Ultimately, she just wants what's best for David, and even when he screams at her in a tense scene, she steals it with her quiet resilience. She'll certainly be a dark horse for some awards.

"Coach" is nothing shocking or groundbreaking, but it's a beautifully made, well pieced-together film with a great cast. I wouldn't expect it to be a box-office smash, but I'm sure anyone who takes the leap to go see it will come out loving it. Ultimately, it's a film about friendship, and the sacrifices we make for our families. And anyone can relate to that.

Best Picture
Best Director (Barry Sonnenfeld)
Best Original Screenplay (Andrew Niccol)
Best Actor (Matthew Broderick)
Best Actress (Jenna Fischer) - GOLDEN GLOBES (MUSICAL/COMEDY)
Best Supporting Actor (Jason Bateman)
Best Supporting Actress (Jenna Fischer) - ACADEMY AWARDS

Author(s): Adrian James (TN)
Shadows of the Sun

Directed by Julian Schnabel 
Written by Ronald Harwood
Cinematography by Robert Elswit
Original Music by Nick Cave

CAST:
Josh Brolin - Peter O'Grady
Jennifer Jason Leigh - Pamela O'Grady
Noah Emmerich - Joshua Bender
Parker Posey - Susan Bender

TAGLINE: Dreams to be Forgotten. Memories to be Relived.

SYNOPSIS:
Samuel O'Grady is a WW2 veteran. The visions of Nazi occupied France haunt his dreams. Storming the beaches of Normandy, watching his friends slain around him by German made bullets, and the remains of the jews he found in the concentration camp his regiment attempted to liberate swarm his night terrors. He starts seeing them in the day time, at his job in the coal mine, in the shadows of the black air he breathes every day. He hates what America forced him to do. He hates America for it....

Pamela O'Grady is married to a WW2 veteran. She stays at home taking care of their 6 children, cleaning the small townhouse they occupy, cooking the dinners that sustain her family, and being the typical Irish Catholic housewife. She longs for a life outside of the abusive relationship she shares with her troubled, alchoholic husband. He goes on all day and night about the corrupt state of America, how the government is taking advantage of its patrons. She tells him he shouldn't say such things, especially since the government is cracking down on non-patriots. This is the time in America when the government feared Communist takeover, calling it the Red Menace. 

The Benders, Pamela and Samuel's neighbors, come over for dinner one night, and Samuel and Joshua become fast friends. They find out that they fought in the war at the same time, and were both on the beaches of Normandy. Susan and Pamela act respectfully towards each other, but Pamela cannot get past a certain jealousy she has of Susan. Joshua respects Susan, and treats her with love and kindness. Pamela wishes she had the same kind of relationship with Samuel, but dreams are not held in high regard America anymore.... 

All over the country, the government looks for Russian spies. They advertise everywhere about the evils of Communism. They tell their citizens to report any suspicious activity...

Samuel goes with Joshua one night to a group of WW2 veterans that gather twice a week to help each other with their memories of the evils that took place in the war against the Nazis. Joshua is the leader of this group, and shows a different side of himself when in the presence of former veterans. Samuel is finding a place to belong, where he can help heal the mental wounds he sustained. He doesnt want to tell Pamela about the group, out of fear that she might think him weak. That he isnt the strong, brave, reliable man she married. At the meetings he sees what America's draft did to these poor souls. This fuels his hatred for his country's military system even more. He lashes out more often at home. He calls his country evil.

Joshua and Samuel go out drinking one night after a meeting, and Joshua tells Samuel about Communism. How that form of government is better than the "Democracy" they have in America. Samuel is slightly taken aback by this, since the government is constantly telling their citizens how bad Communism is. Joshua says its all propoganda. The old men in positions of power are afraid of their people. Imagine what the masses could do if given any room to walk. They'd start to run. They'd start to venture into their own thoughts, and that would be bad. Samuel doesn't know how to react to Joshua's theories, but somehow, they make sense....

Pamela is starting to suspect her husband is a Russian spy. He always comes home late on Tuesdays and Thursdays. He speaks of the evils of America. He has become more abusive. Is this because he hates her for loving her country? All of a sudden, they hear screaming outside on the street. When Pamela and Samuel look out their window, they see Joshua being forced into the back of a black van. Men in suits get in to the car and drive away, as Susan runs out of the house towards the car. As it pulls away, she weeps while she sits down on the curb. Samuel closes the blinds slowly, and goes back to his study silently.

Pamela sends Samuel over with some Jello to comfort Susan. When he arrives, she is in shambles. She explains that with no explanation, men just came and took him away. Although Samuel knows who took Joshua and why, he says nothing, but feels the loss as hard as Susan does. They see a certain connection in each other, both with something empty in their lives. Samuel sets down the Jello, and cheats on his wife.

Pamela is starting to fear that Samuel and Susan are having an affair. Samuel is almost never home, and when he is, he is distant and drunk. Late that night, she goes over to Susan's house to accuse her, but when she finally gets there, she can't. She is still jealous of Susan, for being able to have her husband when even she cannot. She hates her for it. Her rage consumes her. Suddenly, she sees something on the nightstand. Her husbands leather wallet. While in the kitchen, Pamela grabs a butcher knife, and begins to stab Susan in the throat and torso. Filled with envy, silent and still, Pamela cleans up her mess, and realizes what she has done. She walks back home, to find her husband has yet to be home...

Samuel begins to worry about Susan. She hasn't been at her home or to work in nearly 3 days, and he starts to suspect that his wife found out about them. That night, he comes home after a meeting. He is drunker than usual, and very abusive. He comes after the youngest of their children, and she grabs a knife. He leaves, but she calls the police about a Red threat.

He arrives late that night, stumbling into the house. Suddenly he is grabbed by men in suits and put into a car. He watches his wife's face as the car pulls out of the driveway. She watches as the car rolls down the dark road, and her husband never to be seen again..........

WHAT THE PRESS WOULD SAY:
How can the horrors of our past effect our future? What do we make of our dreams once they pass us by? Can we ever regain happiness once it is lost? These are just a few of the questions posed in Julian Schnabel's magnificent, beautiful, and haunting mosaic of the American dream, "Shadows of the Sun". The story follows a married couple in rural 1950's America. A time where the economy was blazing, and the government was cracking down on Communism. The setting only sets the stage for this journey into the minds of our main characters, Samuel and Pamela O'Grady.

Samuel is played with a gruff, quiet, and brooding subtlety by Josh Brolin, who has given incredible overlooked performances in the past (No Country for Old Men). In this, he completely strips himself and becomes one with the character. A middle aged, World War 2 veteran, who spends his days in the coal mine, and is haunted by his soldier past. He drinks, and abuses his family. But he cannot live with the horrors of his past, and joins a veteran help group. But he cannot tell his family, for fear of rejection by them. That they will not see him as the man he wants them to. The regret that bears on this character is shown to bravura by Brolin, who treats the role with such grace and unspoken nuances. Truly, a performance that will talked about for years to come.

Pamela is portrayed by the remarkable Jennifer Jason Leigh, in what could be called the greatest, most down to earth performance of her career. She humanizes this somewhat common housewife, who regrets the mistakes of her life. She longs to be loved by her alchoholic husband, and wishes she had made more of a life than what she has. She is jealous, she is fearful, she is loving, and most of all she is real. Leigh really makes this character one of the more realistic images of a women ever put on film. She is truly incredible.

The supporting characters of the show really bring some meat to the story. The neighbors of the O'Gradys, and somewhat reflections of what they wish they could have. Noah Emmerich plays Joshua Bender, a fellow war veteran, and leader of the veteran help group Samuel attends. Emmerich brings a quietly fierce, sympathetic performance to his character, and really shines in his scenes. He is charismatic when he talks about his views on Communism, and compassionate when he helps Samuel with his troubles. Parker Posey plays Susan Bender, Pamela's mirror of what she wishes she could be. The attractive, funny, and independent wife of Joshua. Posey really brings an emotional punch to the gut in a scene when Joshua gets taken away for being in cahoots with Communists. These two supporting performances are the stuff supporting performances should aim to be.

Julian Schnabel really goes all out here in the direction. He is a master of humanizing characters, as he did in his 2007 masterpiece The Diving Bell and the Butterfly. He brings the characters to life, but to the point that they seem real. It seems that these are the same people you knew growing up, or that live across the street. He brings a beauty, and horrifying edge to certain scenes. Flashback montages to France during WW2, mixed with scenes of coal miners are prime examples. The film is a dark, beautiful, and poignant look at the dreams of many, being swept under the rug, and the horrors of our past coming back to haunt us. With an ending that leaves you walking out of the theater speechless, "Shadows of the Sun" is truly a classic in the making.

AWARDS CAMPAIGN:
Best Picture
Best Director - Julian Schnabel
Best Actor - Josh Brolin
Best Actress - Jennifer Jason Leigh
Best Supporting Actor - Noah Emmerich
Best Supporting Actress - Parker Posey
Best Original Screenplay - Ronald Harwood

Author(s): Jeffrey (NY)
From the Fire

Directed by Jonathan Demme
Written by Tony Gilroy

Sophie Okonedo as Michelle Freeman
Martin Sheen as Howard Edwards
Bill Paxton as John Saunders
Emmy Rossum as Charlotte Page
and Chiwetel Ejiofor as Marcus Freeman

Tagline: What she thought had been burned away has come back to haunt her.

Synopsis:

The day of her tenth wedding anniversary, a Friday, Professor Michelle Freeman dismissed her Ethics early. Her husband Marcus was waiting for her just outside the university, ready to drive her home. On her way out of the classroom, her mousy, cautious student Charlotte Page stood before her. Charlotte had failed to hand in a paper the previous week, and was only now offering it to Michelle for a grade. Michelle agreed to take the paper from Charlotte; when she got in the car with her husband, she began to read it.

It took just one sentence for Michelle to ask Marcus to pull the car over. Marcus complied with his wife's wishes, and Michelle silently read to herself the essay Charlotte had written: a morally investigative piece on Michelle's recent affair with one of her students. Michelle requested the her husband drive her back to the university amidst protest; Marcus had prepared for an entire day's worth of celebration for the couple's anniversary. It took repetitive protest from Michelle for Marcus to agree to turn around and drop her back off at the university.

Michelle confronted Charlotte when she returned to the school's campus. Charlotte refused to explain herself when surrounded by so many people; she pulled Michelle into a vacant room and explained to her that she had been paid to incriminate Michelle by another professor. After much emotional interrogation, Charlotte cracked and revealed to Michelle that it was Professor Saunders who had convinced her to write the paper. Michelle found Saunders in his office, where he arrogantly demanded a hefty sum in exchange for silence about Michelle's affair. Michelle was infuriated and valiantly decided that she would confess to the Dean of Students and show him Charlotte's paper, no longer fearing the consequences.

The dean, Howard Edwards, blindsided Michelle when he revealed to her that he'd known for quite a while about her affair with the student. The university had been slipping in enrollment lately, and the last thing that the dean wanted was for word about the affair to get out; he promised to resolve any problems Michelle was experiencing. Michelle spent the night with her husband, and returned the next week to a disturbing rumour: a female student, Charlotte Page, was missing. Saunders was quick to accuse Michelle of having a part in the disappearance, but Michelle promised him that she had no part. In fact, Michelle was sure that it was the Dean of Students. She went inform Howard about coming clean, and Howard sternly advised against it: Michelle wouldn't want to see her husband's life in danger, would she?

Michelle became torn between ignominy and guilt. Two days later, a letter written in blood arrived at her house: "Keep Quiet." It was at this time that Michelle knew that she had to come clean to Marcus about what had happened between her and her former student. Marcus was furious when he learned about the affair; he was borderline violent in his reaction to the news. Michelle profusely apologized, and further explained about the threat Howard Edwards had sent her, both verbally and written. Marcus was firm in his stance: he did not want his life risked for something that never needed to get dug up.

Saunders was released from his duties soon after Michelle's confrontation with her husband. Michelle's guilt began to accumulate into even greater volume, knowing about Charlotte's disappearance and probable death, her husband's despair, and what happened to Saunders (although he had previously attempted to blackmail her). Michelle realized needed to make a decision: would she confess and right the wrongs that had been committed against Charlotte and Saunders, or protect her husband's well-being and allow Howard Edwards to win?

What The Press Would Say:

Just when she thought she had put her past behind her, the central character of "From the Fire" finds herself confronted by her irrevocable and scandalous past. Her fear is momentarily alleviated when she realizes she has the support of the Dean of Students at her university; however, it isn't long before she uncovers a moral violation of which she has so long preached against as a professor of philosophy and ethics. Jonathan Demme tackles the dramatic and twisting film with admirable strength. Coupled with Tony Gilroy's smart and concise script, Demme's directing appropriately lets suspense and ambivalence settle in as the plot thickens.

The protagonist of the film is played by Sophie Okonedo, whose recent appearance in "The Secret Life of Bees" stimulated near unanimous praise. Okonedo, when faced with the possibility of overacting in a scene, always avoids expected clichés and instead opts for subtlety in her approach for the character. Likewise, Martin Sheen's turn as the dean is not over the top in its antagonism; rather, he is calm, calculated, and believable. The one character who breaks from his subtle and serene demeanor when faced with dreadful confrontation is that of Okonedo's husband, played by Chiwetel Ejiofor. Ejiofor's scenes are scattered throughout the film and his role begins to come into its own near the resolution when he learns of his once loyal wife's prior affair. Ejiofor completely steals the scene and his impact on Okonedo echoes throughout the remainder of the film in her performance.

Indirectly dynamic characters are played by Bill Paxton and Emmy Rossum, both of whom seem, at first, to have vindictive intentions but come to fight for the same cause as Okonedo. Paxton goes from overconfident blackmail to helplessly fearful of his superiors. It is clear that Paxton's character would love to bring down the evidently questionable motives of the school in hiding his information, but his loss of vigor indicates that he, too, has been threatened to keep quiet. Rossum has a brief but fantastic role as the naive victim caught in the crossfire of her professor's scandal, and in a few scenes she manages to awe the viewer with her natural ability as an actress.

Several twists characterize "From the Fire" as the suspenseful moral allegory it has been said to be. No one character is truly redeemable; its biggest strength undoubtedly lies in the amount of ambiguity it allows and its build up to a tense and exceptional conclusion. Demme's newest work is one not to be missed.

For Your Consideration:

Best Picture
Best Director - Jonathan Demme
Best Actress - Sophie Okonedo
Best Supporting Actor - Martin Sheen
Best Supporting Actor - Bill Paxton
Best Supporting Actor - Chiwetel Ejiofor
Best Supporting Actress - Emmy Rossum
Best Original Screenplay

Author(s): Tony (PA)
Beneath the Mire

Directed by Ben Affleck
Written by Ben Affleck and Matt Damon

Michael Douglas as Lance Fischer
Matt Damon as Ricky Morton
Wanda De Jesus as Janice Fischer
Rose Byrne as Ash Morton
Nathan Gamble as Todd Morton
Justin Theroux as Derek Lister
Kristen Dalton as Deanna Wilcox

Tagline: "With no hope, we suffocate"

Synopsis: Before the letter, Lance Fischer escorted his wife down the drive-way and kissed her goodbye. The Boston native was a stock broker most of his professional career and has settled down for the last few years. Ricky Morton escorted his son by piggy back ride into the kitchen to kiss his wife, Ash, good morning. He reaches for his belt and his badge as Todd begins to play cops and robbers. Ash isn't enthused as Lance chases him around the small Morton household. They always hoped for better income, but never came to be. Ricky leaves but doesn't go straight to work. Instead, he follows his normal routine, and visits Deanna. After an enjoyable evening of golf with his friends, Lance returns home. That's when he received the letter on his doorstep.

The Fischer family was relatively known around the city. It wouldn't have been hard to spot the famous Mrs. Fischer. The letter wasn't flashy. Pay an amount of 10 million dollars in one week. However, one day prior, Janice will be buried alive. If there's any interference at the drop off, she will be left there to die. Naturally, the police are called. Lead detective Derek Lister is assigned the case and a good friend of Rickys. Lance is aware he's not worth that much money anymore, therefore he must take actions. He goes through his own investigation and questions every person involved in his wifes morning routine, from Starbucks to her office. Meanwhile, the Morton family is feels clustered as Janice begins to question Rickys loyalty. In the bedroom lies a suitcase full of clothes. To escape the household, Ricky follows Derek with his investigation and keeps a close eye. He accompanies Derek when he exchanges his information with Lance. Ricky insist that Lance stays out of the investagation, leading to a heated argument between the two. 

Weeks have gone by and Lance has been chasing in circles, wondering if it's not worth fighting anymore. Ricky continues to grow a disliking for Lance and what appears to be trying to have Derek disregard the case as a lost cause. Deep down, Ricky envied Lances lifestyle. The wealth, the fame, the money, and he so desperately wanted to take that away from him. Eventually, Lance's resources come up with hard evidence that a hispanic woman was seen entering a house on Maiden street by a manly figure. Lance goes to the house, owned by Deanna Wilcox. Ricky and Derek follow Lance's trail and enter the house as well, only to see Lance holding a gun to Deannas face. He tells them to drop their guns as Ricky runs towards Deanna to comfort her. He's brought half of the ransom and wants to know where she's buried. With the two having no answers, Derek tackles down Lance, but not before he shoots Ricky and Deanna. In the end, Lances finds himself with a gunshot wound as he stares down at a deceased Derek. Hours later, a door opens and in walks Ash. She sees Derek dead on the floor, now knowing she can have his cut. Knowing all along of Rickys affair, she grabs the money as her and Todd flee the city. Lance now rests in his hospital bed after hearing the news they found the corpse of Janice Fischer in the Deannas background; she had been dead for days. 

What the press would say: 

"Beneath the Mire" is the latest work from the duo of Ben Affleck and Matt Damon. With Affleck writing the script and behind the camera, Damon also wrote the script and remains in front of the camera. Affleck comes fresh off his success for "Gone Baby Gone" and now has delivered yet another tough, gritty film that hits like a sucker punch and haunts us long after our screening. Affleck opens with the look of the every day family from two different lifestyles. The Fischer's are the infamous family that lives ontop the hill that every man dreams of wanting. The Mortons reflect on the type of house, neighborhood, and life most of us grew up in. Affleck ventures into their lives and makes us well aware that we know this family. This is the family across the street; but like any household, there lies secrets. Once the plot thickens and it becomes a race with time to figure out all the loose ends and angles, Affleck and Damon provide that domino effect where one's actions effect on others. It's a film about a society that has lost all importance of innoence and the beauty of life. 

Michael Douglas plays Lance Fischer, a character with his back against the wall; a character that never wanted help from anyone and needs to take actions in his own hands because that's how he was raised. Fischer is on the verge of paranoia, where one clue comes to a hault and so on, when in the end he finds that the case seems hopeless. The most impressive scenes with Douglas are when he's home alone as we see a montage of his eyes becoming drousy, his 5 o'clock shadow, and his realistic approach of losing all sense of reality. Never has this character played the victim, so he's in unfamiliar territory. Douglas makes the character work and become a loose cannon, waiting to go off on anyone. Matt Damon plays the quiet, snakey, intellectual Ricky Morton. With his charm, comes hidden emotions of anger and jealousy. With this character, we fill the gaps by assuming Damon is mastermind behind the operation, and we want him so desperately to get caught. Even if at the end Damon is not revealed as the abductor, before the ending Damon uses his cunning antics and sly moves that makes we, the audience, think he's trying to avoid being caught, without even being the mastermind. This is a complex role is only suitable for the characteristics provides by Matt Damon, and a supporting nomination is likely to be garnered.

We are then left with the final sequence, where it begins to look like Reservoir Dogs. More is revealed in that span of 10 minutes than the rest of the film. Here we see each characters side and motivation towards this kidnap. This room creates such an expanded tension and we prepare ourselves for what's to come. Ricky and Deanna are framed for the murder as Lance Fischer finds himself lost for words, never knowing what really happened after he was shot. Affleck does a fantastic job at not revealing much on how it unraveled, but he leaves us with obvious clues as to what really happened. We can only assume Ash and Derek buried poor Janice while Ricky was having a late night dinner with Deanna. We can only assume Ash bribed Derek into doing this act with the large amount of money instored for them. That's the beauty of "Beneath the MIre," we the audience can fill in the blanks, while Affleck just shows the story to us. With an amazing script, smart dialogue, and flawless character development, this ensemble becomes a deeply disturbing and thoroughly engaging picture.

FYC:

Best Picture
Best Director - Ben Affleck
Best Supporting Actor - Michael Douglas
Best Supporting Actor - Matt Damon
Best Original Screenplay - Ben Affleck and Matt Damon

Author(s): Maia (CA)
Hijo Prodigo

Directed by Alfonso Cuaron
Written by Alfonso & Carlos Cuaron
Distributed by Focus Features

Cast:

Gael Garcia Bernal as Ronaldo “Ronnie” Dominguez
Michael Peña as Chuy “El Loco” Sanchez
Alice Braga as Angelica Dominguez
Kate Bosworth as Beth Anderson
With Demian Bichir as Esteban Dominguez
& Edward James Olmos as Señor “El Poderoso” Dominguez

Tagline: “The prodigal son returns… let’s bring out the coke”

When the spoiled, Ivy League-educated son of a Mexican Cartel Lord travels home to visit his family, unplanned events force him to join the business he escaped from years ago:

Los Angeles, California
A Bachelor in Arts from Stanford, an MFA from Harvard… Life for breakthrough painter Ronnie Dominguez sure looked sweet from his New York condo. Unlike many of his peers, Ronnie never had to struggle: as soon as he graduated, Ronnie was surprisingly able to inaugurate his own gallery within weeks and in a matter of months, la crème de la crème of Manhattan was already seduced by his talent. There was of course gossip, a Page Six reporter once hinted at the possible explanation behind Ronnie’s sudden success but the poor fella was fired before we even got a chance to read a follow-up. Even Beth, Ronnie’s long-time girlfriend wondered some times how a foreign (so-so) painter was able to exercise such influence over his privileged clientele. “I guess some people are just lucky”, she thought… Truth is, Ronnie was admired… as admired as his family was dreaded south of the border (and also in some areas above the US-Mexico borderline). 

Tijuana, Mexico
The brave but always wise Señor Dominguez couldn’t be happier. Ronaldo, his favorite son, was on his way back home after a long stay in the US. Although both had differences in the past, the recently widowed Señor Dominguez was just glad to once again have all his family at home. 

Esteban, the tough oldest son, didn’t share his father’s excitement though. Despite working side by side with Señor Dominguez for many years, Esteban felt his father still favored his younger, fun loving brother and the once sweet and naive young Angelica that Ronaldo would remember as his little sister was now a sassy and feisty party girl that was secretly dating Señor Dominguez’s former right-hand man (and now rival cartel leader) Chuy “El Loco” Sanchez. 

The night of Ronaldo’s homecoming party, things were going as good as “El Poderoso” expected. It was no surprise Esteban remained low-key as Ronaldo was re-introduced to the family but what happened at the end of the night came out as a big shocker. During an unlikely security breach, Señor Dominguez was kidnapped by “El Loco” and now; unable to trust his suspicious siblings, it’s up to Ronnie to do what he can (but never wanted) to save his father’s life and restore the balance in the everlasting Cartel wars...

What the press would say:

Everybody hurts… Bad guys too, or at least that’s the unconventional message in Alfonso Cuaron’s amoral, witty and often machiavelic dramedy “Hijo Prodigo” (The Prodigal Son). Written skillfully with equal level of brains and heart by the Cuaron brothers; the original story of the very flawed Ronaldo Dominguez, charmingly played by a posh Gael Garcia Bernal in a bilingual role, is an exceptional study of family dynamics and social commentary. 

Within the micro-universe created by the Cuaron duo, the Dominguez emerge as a regular, sympathetic (millionaire) family that just happens to work on the opposite side of the law. The patriarch, emotively played by a contemplative Edward James Olmos, is given such heart that by the end of the film; when the heartbroken father discovers he’s been betrayed by his own clan, it’s impossible to hold tears. Similarly, Gael Garcia Bernal’s Ronnie begins the film as a selfish brat that eventually grows up to become a man and a leader. 

Mexican-born thesp Demian Bichir (familiar to American audiences for playing Fidel Castro in “Che”) gives a powerful, realistic performance as the tragic older brother Esteban and both Michael Peña and Alice Braga let the spark flies as a passionate, if too ambitious, couple. 

Ultimately, “Hijo Prodigo” manages to be effectively dramatic, comic and relevant at the same time and while the mostly Spanish-language feature is perhaps too dark for AMPAS’s. The strong push by distributor Focus Features might just be what this unique story needs to be top lord this awards season:

For Your Consideration

Best Picture
Best Director
Best Actor – Gael Garcia Bernal
Best Supporting Actor – Edward James Olmos
Best Supporting Actor – Demian Bichir
Best Original Screenplay

Author(s): Michael (OK)
Greenwood

Directed by Joe Wright
Written by David Benioff
Original Score by Dario Marianelli 
Costume Design by Sheena Napier
Art Direction by Dennis Davenport and David Gropman

Principal Cast: 

Edi Gathegi- Dick Rowland
Kristen Bell- Sarah Page
Margaret Avery- Deborah Rowland
Keith David- Roy Rowland
John C. Reilly- Sheriff William McCullough 
Laura Michelle Kelly- Laura McCullough
David Alan Basche- Henry Carmichael

Tagline: “Welcome to the tragedy of Black Wall Street…”

Plot/Synopsis: Memorial Day had always been a highly celebrated event in the young town of Tulsa, Oklahoma. It was on this illustrious day in 1921 that Dick Rowland was at work at the Main Street Shine Parlor and had to go the restroom, which was located at the top of the Drexel Building which conveniently next door. Rowland entered the complex and ran to catch the elevator, operated by a young woman by the name of Sarah Page. As he darted to take the next ride up to the colored restroom, he inadvertently tripped and grasped the young elevator operator to catch himself. 

Knowing there was a good chance he would be reprimanded for touching her, Rowland fled to his parent’s home where he was welcomed by his distraught mother, and his protective father. 

Sarah Page on the other hand, almost instantly had detectives questioning her, one of them the newly appointed Sheriff of Tulsa County, William McCullough. All of these gentlemen heard her callous response to their questions: Dick Rowland attacked me! 

The next morning Sheriff McCullough arrested Dick Rowland on the grounds of assault against Sarah Page, and he was to be held at the Tulsa County Courthouse for further questioning. By the late morning, the Tulsa Tribune had published the morning edition of their newspaper. In it, the story involving Dick Rowland and Sarah Page was published, and also in the classified ads there was an announcement that there would be a lynching of Rowland at dusk.

The Sheriff’s department was immediately informed of this statement and hastily put deputies all around the courthouse, but a group of Caucasian protestors formed in the region of court. Henry Carmichael was one of this group, and would stop at nothing to retrieve Dick and continue with the hanging as planned. Sheriff McCullough attempted to disengage the forming mob with his powerful words, but Henry would have none of it. 

As dusk approached an assembly of about 25 black men arrived at the courthouse to provide their support in protecting the young Dick. Armed with shotguns and rifles, the Sheriff speedily assured them that their friend was safe, and they should return to Greenwood. The group prepared to head off and exited the courthouse, however a shot was fired from Henry Carmichael’s gun at the group of black men and all hell broke loose between the two groups. 

Many of the black men escaped the brawl and returned to Greenwood, but the white mob swiftly pursued them. Some stayed behind however, and set fire to many homes and apartments that employed black maids, or were directly involved in the sheriff’s department. This included Laura McCullough, the wife of the Sheriff, and their newborn son, Timothy. As the fire’s blazed though Greenwood was being burnt as well and the white protestors had broken into many business and stolen money, and already killed 100 citizens of the prominent community. That night, blood flooded the streets, smoke filled the air, and lives were lost, but there was also a man who was deeply conflicted between whether to save his wife and son, or do his duty as Sheriff of Tulsa County. 

What the Press Would Say: The new film “Greenwood” tells the tragic story of the Tulsa Race Riot of 1921 in which it is estimated 3,000 inhabitants of Tulsa and Greenwood were killed. Directed by Joe Wright, this ensemble drama delivers exactly what it intends to, a moving account of this horrid event, and spellbinding performances. The direction of the film is brilliant, and the screenplay is greatest of the year. Together, the combination is enough to call this film the best of the year, but the performances send it way past this superlative. The all-star company headed by John C. Reilly, in his best performance to date, is simply astounding. The ensemble is immaculate in its interpretation of the script, and each individual shines throughout the film. Reilly is remarkable in the role of the sheriff, and while his character has a heartbreaking ending, he proves yet again he has acting chops. The relative newcomer to film, Laura Michelle Kelly, is stunning as Reilly’s wife, and verifies that she is here to stay. David Alan Basche is phenomenal as the racist white man Henry Carmichael, who ultimately starts the riot against the black community, and plays the role with such conviction chills are sure to run down your spine.
The initial conflict of the film revolves around the young black man Dick Rowland, played by Edi Gathegi, who is miraculous in his portrayal of this human being wrongly accused of assault. Though much of his time on screen is spent not speaking, his performance is one that should be remembered for quite sometime. Teen star Kristen Bell gives arguably the best performance of the film in the accusatory role of Sarah Page, the young girl who blames Dick of attacking her. So few actresses can convincingly depict a true bitch, and she gives us a memorable one indeed. The visuals are extraordinary as well, and the technical aspects are to die for. Greenwood is definitely the must see motion picture of the year, and one of the best movies of all-time. 

For Your Consideration: 
Best Picture
Best Director- Joe Wright
Best Actor- John C. Reilly
Best Supporting Actor- David Alan Basche
Best Supporting Actor- Edi Gathegi
Best Supporting Actress- Kristen Bell
Best Supporting Actress- Laura Michelle Kelly
Best Original Screenplay

Author(s): Evan (NY)
The Lights in the Piazza

Directed By: Baz Luhrmann
Written By: Craig Lucas

Cast
Kristin Scott Thomas - Margaret Johnson
Emmy Rossum - Clara Johnson
Matthew Morrison - Fabrizio Naccarelli
Mark Harelik - Giuseppe Naccarelli
Patti LuPone - Franca Naccarelli

Tagline "Love is a Fable."

Synopsis:
Florence, Italy 1953. The openness. The light. The people that are so kind and beautiful. Margaret Johnson and her daughter Clara have taken a vacation to Italy, back to the places that her and her husband had gone when they had honeymooned in the same place. But it is harder than

it may seem to take this break, as Clara is a special child. She is 26 years old, but because of an accident at her tenth birthday, her mind has developed much more slowly than her body. She is basically a 13-year old girl in a women's body.

Her father, the owner of a tobacco company in North Carolina, had gotten a pony for her 10th party. But the pony had flung Clara off its back and stomped on her head. Her father had never really gotten over the incident, and had been blaming himself for it ever since. But the light; it was so beautiful. While running across the piazza, Clara's hat is knocked off by the wind. A young man catches it. His name is Fabrizio Naccarelli. He begins the court her, taking to her curiosity, her endless joy, and the spring in her step. As well as the way the air whirls her hair. But they never learn each other's names.

Margaret steers her daughter away from the encounter, and takes her to a museum.

Fabrizio comes back to the Piazza the next day, hoping to see the girl again. He confronts the two women, and his father appears, breaking through to Margaret, and convincing them to come and take a walk on the Passeggiata at sunset.

Margaret and Clara are invited to have tea at the Naccarelli home. Giuseppe's wife, Franca, takes Clara on a tour of the apartment, and alone in a separate room, she warns Clara about ever trusting her husband. Though the Naccarellis are universally impressed with Clara, Margaret tries without success to share her deep reservations. But the love that is so evident between them stops her from completely voicing her disapprovals. Margaret calls her husband back in the states. She tries to tell him what is happening with Clara and Fabrizio, but he is angry and not very understanding, hanging up on her. Margaret, alone in her hotel room realizes her disappointment in the marriage

She goes to check on Clara, and sees she has disappeared. Lost in the mazelike streets of Florence, Clara has gone out looking for Fabrizio's house. She becomes hysterical and breaks down in the middle of the street, not being able to understand everything around her. Margaret finds her, sobbing in a gutter. She decides to end this affair once and for all, and takes Clara to Rome.

No matter what Margaret tries, her daughter refuses to give her an inch, culminating into a painful confrontation in which Margaret slaps Clara across the face. Clara erupts with feeling, centered on Fabrizio 
and the nature of love. This makes Margaret to relent, and set aside her doubts and considerations, and to no longer stand in the way of the wedding.

Back in Florence, the day of the wedding, Margaret confronts Signor Niccerlli about her daughter being unsuitable for a wife. She says her daughter isn't normal. Clara, in her wedding dress, stands in the 
shadows, overhearing her mother's side of the conversation. Confused,

Clara slips out of the hotel room and runs once more through Florence meeting Fabrizio at the church in order to tell him that she will not marry him; she won' allow herself to cause him any pain. Fabrizio 
tells her he will love her no matter what.

Moments before the wedding, Clara tells Margaret she can't leave her;

Margaret assures her she can. Alone, Margaret breaks open all the pent-up doubts and yearnings that she has carried for years on end about love, realizing at last that the chance of love sometimes outweighs the risks.

What The Press Would Say
"The Light In the Piazza" was first a book, then a movie, then a musical. Baz Luhrmaan has created it's newest incarnation; the movie of the musical. And what a film it is. With beautiful production designing, an amazing score, and sweeping cinematography, "he Light In The Piazza" is a treat for all the senses. The story revolves around a  woman and her mentally challenged 26 year-old daughter. It is about how the daughter falls in love, and the mother won' give her up. Emmy Rossum plays Clara, the daughter, with grace, and poise far beyond her years. The role is a tough one, a special girl in love. But Ms. Rossum shows us her acting chops big time, pulling off the role to surprising heights. But the highlight of the acting ensemble is Kristin Scott Thomas, who plays Margaret, Clara's mother. She is intelligent, witty, and remembering. Margaret is stuck in the center of one of the biggest choices in her life, and has to suppress her own feelings to protect her daughter. Thomas is perfect for the role, and sings beautifully as well.

Dazzling in its beauty, it's message, and it's worldview, "The Light In The Piazza" is a fantastic musical tribute to love.

FYC
Best Picture
Best Director
Best Adapted Screenplay
Best Actress - Kristen Scott Thomas
Best Supporting Actress - Emmy Rossum
Best supporting Actor - Matthew Morrison
Best supporting Actor - Mark Harelik

Author(s): Evan (NY)
The Way Things Used To Be

Directed By: Julian Schnabel
Written By: Cynthia Voigt and Ronald Harwood
Score By: Brooke White

Cast
Lily - Gwyneth Paltrow
Andrew - Edward Norton
Jules - Alan Arkin
Old Women - Helen Mirren
Carly - Zooey Deschanel

Tagline: "time travel is as easy as a photo in your back pocket, if you believe it is"

Synopsis: Lily did not believe in what most of us believe. Most people think that life is a straight line, and that time is the glue on the plank that we are always moving towards the end of. Lily thought of life as a beaded bracelet, and that death was only one moment in a lot of moments in a person's circular life cycle. She thought that you can always escape to the good moments, even after death, because all death is, is a bad moment in a person's life. All Lily wanted to do after her boyfriend Andrew was kidnapped while on a family trip to Bhutan was to go back to the way things used to be. She thought of all the forests, and of all the seas, of all she saw of him. She saw his green eyes and the day they met, at a small cafe in Paris.

Cliché, yes, but not to them. To them it was just the spontaneity of life, and the irony of it as well. She traveled back to the trip they took from California to Maine, and how they drove through the countryside looking at everything, and meeting people along the way. A farmer named Jules, who had moved from Holland to Idaho to grow potatoes, showed them what tranquility was on his small farm. In Virginia the couple met a women named Carly, who was the bartender at a little bar on the highway. Carly tells the couple how time travel is as easy as a photo in you back pocket. Lily travels back to when the couple arrived in Maine. They walked to a small antique shop on the edge of a foggy pine grove on the shore. They saw a tall old woman sitting behind the counter. She showed them bracelets she had made. They consisted of small, colorful beads. She told them how to her, they symbolized life. How the circle  of life was actually a circle. How it didn't have a start and afinish. But the most important place Lily went back too was to the minute before Andrew left on his trip. When one believes in the bead method of life, one can change history itself. Lily told her boyfriend that she loved him as he walked away for the last time, but he did not respond, just as he hadn't said anything when he had left before. Lily then finds out that using the beads, one can make themselves feel as if they had atoned, but cannot change ones fate.

What The Press Would Say: When a person watches The Way Things Used To Be it is almost impossible not to become mesmerized in the almost meditative feel to the film. Julian Schnabel really has created a truly haunting and intelligent film. It will open up your memories and open up the melody that used to be. This beautiful film focuses on how a small minority of people see life. Gwyneth Paltrow stars as Lily, the 
open-minded young beautician that finds out that although her memory is changeable, fate is not. Giving a heartwarming, and intelligent performance, all while carrying the film on her shoulders. Alan Arkin plays Jules, who is also the sole funny character in this film, and gives a hilarious performance as the Dutch farmer. Julian Schnabel's vision shows through the whole film. Lily's means of time travel are never revealed in the film, and it is left open to the audience if she travels in a clunky machine, or just in her mind. The imaginative imagery transports you into a world very eerily similar to ours, just without the bad. Many critics of the film are sure to say that there is very little conflict. But what those people have to do is re-watch it and look for the internal conflict in Lily, and at the fact that, since Lily can travel back to any moment in time, she can block out the bad. 

The disjointed feel to the film works very well because the flowing score by Brooke White accompanies it perfectly. Without a powerful screenplay, how could a film come out this great? It can't.'

Cynthia Voight and Ronald Hardwood have created a beautifully written and very visual screenplay for this wonderous film. The Way Things Used To Be is by far one of the most interesting, and fulfilling films of the
year.

FYC
Best Picture
Best Director - Julian Schnabel
Best Actress - Gwyneth Paltrow
Best Actor - Edward Norton
Best Supporting Actor - Alan Arkin
Best Original Screenplay

Author(s): T.D. (TX)
Eagle Studios

A Miramax Films Production
Written and Directed by Quentin Tarantino
Produced by Lawrence Bender
Art Direction by Ted Banner
Set Decoration by Sandy Struth
Cinematography by Robert Richardson
Editing by Sally Menke

Principal Cast

Jason Dohring as Blaine Campbell aka “Theo”
Michael Madsen as Andrew Campbell
Catherine Keener as Jessica Campbell
Robert Forster as Mark McNally
Nikki Reed as Pepper Williams aka “Ashlee”
Emile Hirsch as Robby Ralston
Dev Patel as Kavi Gupta aka “Jude”

Tagline: “Witness the life of a former porn studio empire and its people.”

Synopsis:

PROLOGUE

June 1997

Blaine Campbell sits on the toilet of his cheap and dirty apartment complex in San Francisco. The only things he has in his hands are a bottle of beer and a .38 caliber. With “Gangsta’s Paradise” playing on the radio, he hums to the tune and ponders on whether to kill Mark McNally, the man who had wronged him and his family almost two months ago.

CHAPTER ONE

April 1997

Andrew and Jessica stare at their son after he told them that he was gay. Jessica wanted to beat the hell out of her son, but instead she goes out the room and says, “I’m going to take a smoke.” Andrew and Blaine sat in the chairs, staring each other down and wondering what will become of the family business. After much thought he told his only son that they’ll see if they can find a place for him. After Jason leaves to tell the others about his new found lifestyle, Andrew calls in Mark and tells him about his son’s recent changes. Mark told him that he’s of no use to the studio now, but Andrew refuses to give up his son and his top male star. He tells him that he wants to start a gay porn section, but Mark angrily refuses to let such filth become a part of the studio. Jessica walks in to find the two arguing, and she leaves them in their squalling.

CHAPTER TWO

April 1997

“Ashlee” was a named that was familiar to all on the Internet. She was the star, the hot shot, the bad ass bitch that every man wanted to screw and have babies with. She had it all, until Jason told her the truth. Pepper aka “Ashlee” was shocked and furious at this news and storms into the office to find the gentleman bickering. She asked them if this was true, and they said yes. Andrew tells her the about the new addition, and she and Mark went against this addition, but Andrew didn’t give a damn about what they thought and left the office to tell everyone the news. The majority of the studio workers were accepting of this news, and within a day gay porn was introduced to Eagle Studios.

CHAPTER THREE

April 1997

Blaine and his boyfriend were eating at the Big Kahuna Burger down the street. Blaine tells him about the news he told to everyone, and Robby was happy to hear that. The only thing that matters to Robby now is that they get married. They been dating for almost 6 months now, and Blaine wasn’t ready for such a big jump as marriage. As their discussion went on, Jessica found them and told them about Andrew’s decision. Both were surprised at this, and Blaine said that that was a crazy decision and that he didn’t know his father would do something like that. They all head back in the family Honda Civic, and went they got into the office they saw Andrew and a young man who introduced himself as Kavi. Andrew tells his son that Kavi is going to be his “bitch” in the very first gay shoot, and Blaine, Jessica and Robby were all very uneasy about this news.

CHAPTER FOUR

May 1997

Pepper stood on the side and watched Blaine, who went on as “Theo”, and Kavi, who went on as “Jude”, performed the first gay shoot. She watched in anger as the man who brought her up to fame thrusts his body against Kavi’s. She walked out and Mark pursues after her. He grabs her and she tells him that she won’t be made a fool of and loose her status in the porn world. Mark understands her, and he asks her if she would like to help him destroy both Andrew and Blaine’s career. He tells her that in return she’ll maintain status and he’ll gain control of Eagle Studios. She agrees, and on the next day their plan began to take action. Both of them had slandered their names all over San Francisco and made up false accusations about them. Pepper even stoop so low that she told Robby that Blaine and Kavi were having an affair behind his back. Robby believed her, and she left the apartment he waited for Blaine to come home, and when he did he saw both of them laughing and playing in the parking lot. Blaine came up and the two began to argue. Robby leaves him in his apartment and drives off.

CHAPTER FIVE

May 1997

Andrew was working late that evening when Mark came in. He comes up to Andrew slowly and talks to him about his poor choices and how the studio is falling apart thanks