AEOS Review: The Skeleton Twins (2014)

The Skeleton Twins (2014) is a movie that originally I wasn’t anticipating. I saw the trailer in a long list of previews before seeing a film, and it didn’t strike me as a movie with a chance of moving me or appealing to me. After Tom over at Digital Shortbread wrote a very nice review on the film, he convinced me otherwise that I needed to give this movie a try. So I did.

Because it didn’t stay in theaters long, and I’ve seen few reviews on the film, here’s a short summary of the film for those of you unfamiliar with the story:

Maggie (Kristen Wiig) and Milo (Bill Hader) are estranged twins, each who happen to attempt suicide on the same day. Before Maggie can go through with it, she receives a phone call notifying her that Milo is in the hospital, healing after a suicide attempt. In light of this news, Maggie welcomes Milo back into her life, inviting him to stay with her and her husband, Lance (Luke Wilson) in their New York home. As Maggie and Milo start to reconnect, catching up over the past decade and reminiscing over their passed father, high school, and growing up years, each have secrets come to the surface that maybe they weren’t planning to spill.

There were moments when I connected with this story, and other times I felt like I was sitting on the outside looking in. What I wasn’t expecting to see was Bill Hader portraying a hardened, flamboyant, complicated character who could make you laugh in one scene, and be emotionally moved the next. Hader lost himself in Milo, and while it was obvious that his Saturday Night Live run influenced certain scenes, it also aided his chemistry with his co-lead, Kristen Wiig, who turned in one of her best film performances to date.

These two comedians successfully depict an estranged set of twins who honestly tell each other how it is while still connecting in a way neither know how to connect with anyone else. They play siblings convincingly enough that no one would question otherwise.

But even after witnessing this turn in two well-known comedians, The Skeleton Twins seems to shock again with unexpectedly good performances from the resurrected Luke Wilson and Modern Family‘s lovably clueless father, Ty Burell. Wilson might play a familiar and simple character, but he has the tricky job of playing a likable yet naive husband devoid of passion. It is his lack of passion, thereof, that probably helps sets off another major plot point (which I will not spoil for those of you who plan to watch this).

Burell also displays his more dramatic acting chops as Milo’s previous English teacher who was inappropriately involved in his teacher-student relationship with his former student. Milo is still processing, reacting, and trying to figure out himself, even years after the discretion.

Like most movies, things start out bad. Things may get worse, but eventually a light is shining at the end of the tunnel and the film has resolved, be it positive or negative. With The Skeleton Twins, there’s really no light at the end of the tunnel. It’s a story of two adults who have muddled through life over the past decade, from one failure to the next, each turning to suicide as an escape from the difficulties life has thrown them. While one might expect this movie to be cheery, it really isn’t, even amidst the occasional laughs. What The Skeleton Twins does successfully present viewers with are great, emotionally complex characters who feel lost and are searching for something, even if they’re not sure what. It’s what made me both like and dislike the movie’s ending.

Early October is an odd time for a character-driven drama to be released, and with it not turning a major profit, it’s no surprise that it’s exiting theaters and entering your nearest Redbox machine in the next few weeks. But that isn’t a reason to not see this movie. I have personal quibbles with some of the writing, but I have great respect for writer-director Craig Johnson, who was able to churn out such moving performances from a set of actors no one was expecting them to offer.

I give The Skeleton Twins 

Eye Art1Eye Art1Eye Art1
ON SCREEN.

 

It’s your turn now. Have you seen The Skeleton Twins? If so, what did you think of it? If not, are you planning to see it? Please share your thoughts below, because I would love to know your thoughts.

Oscar Chatter with Matt and Kristin: Best of Writing, Cinematography, and Art

Kristin: I’m still fighting off this unnerved frustration of seeing 50/50‘s Will Reiser being denied a nomination, but here’s what I think considering the nominees: It’s a tough call in this category, because most of the contenders are strong. I have not seen A Separation, so I cannot comment on Asghar Farhadi’s script, but I was very fond of the little Sundance film Margin Call that quietly slipped itself into the running. J. C. Chandor’s script is smart, well-thought out, and brought down to the level of those who don’t speak financial jargon. On the other hand, there’s Woody Allen’s writing for Midnight in Paris, which is witty and light-hearted, much like the film. I would sign off Kristen Wiig and Mumolo for Bridesmaids, although it’s neat to see the a comedy among the dramas in the writing department. Comedy rarely receives credit for how difficult it is to act, much less to write for actors. That leaves Michel Hazanvicius’s original screenplay for The Artist, which could also do something here. My guess is that Allen or Hazanvicius will win the trophy, although Allen certainly won’t be appearing at the ceremony as usual.

MattHow I wish I would have had the pleasure of seeing A Separation; it only recently arrived to a theater near Madison. My favorite for this category is Midnight in Paris; I love the way Allen took larger than life characters and brought them to life. As Gil met these famous artists of the past, I felt I was meeting them too. And who among us hasn’t met an annoying pseudo-intellectual like Paul? Allen writes great characters. I understand he had a lot of historical material to draw upon, but he wrote them in a way in which I understood some of them for the first time.

As far as The Artist is concerned, I felt this was a bit of an interesting nomination for a film that included such a small amount of dialogue. The screenplay is only forty-two pages long and contains mostly directorial notes. They say the screenplay should serve as the blueprint for a film; Hazanavicius’ script takes that approach quite literally. To me, the magic of The Artist lies in the visuals, the acting, the staging, and, quite ironically, the sound. The screenplay seems inconsequential.

Kristin: I’ve seen all of the nominated except for John Logan’s screenplay for Hugo. Although coming up with something wholly original means writers have to start from scratch, I consider the Best Adapted Screenplay category more difficult for two reasons: first, there is a far heavier competition in this category, because more films are based off books, comics, historical events, etc., today; second, there are grievances to deal with considering the author, family involved, and staying true to the original story while still making it workable for film format.

Having read most of Michael Lewis’s Moneyball, I hold a special appreciation for writers Steve Zaillian and Aaron Sorkin as well as Stan Chervin for transforming a baseball statistics book into a an interesting sports story for sports fans and nonfans alike. I felt like parts of Ides of March were cliche, and its script not quite as smart as some of the other competition, such as The Descendants. I believe that Tinker Tailor Soldier Spy, a triumph in converting from book to film at large, possibly could have been brought to an even higher level by making it more understandable for the masses.

MattFirst of all, The Ides of March seems to be a very strange choice for this category. While enjoyable, I didn’t find it anything out of the ordinary. Characters say their lines which move the plot along; in short, there is a lot of plot, but little story. As far as Hugo is concerned, I have not read the book, but I found the film to be a fabulous, mythic retelling of reality.

I have to agree with Kristin about Moneyball; it does take something special to make a movie about sport’s statistics exciting, especially when that sport is one as dull as baseball. (I probably just lost everyone [don’t judge]; I LOVE football.) Moneyball‘s script is a great example of the hard work it takes to bring a film to the screen. The writing of a film is no less a collaborative effort than the actually production of that film. With great characters and fantastic dialogue, Moneyball is my choice for this category.

Kristin: There isn’t a doubt in my mind that the most deserving of the nominated is Emmanuel Lubezki for his gorgeous and harrowing work in The Tree of Life.

Matt: It took cinematographer Wally Pfister four Oscar nominations before finally snatching the award for Inception. Emmanuel Lubezki is on his fifth nomination. Those previous nominations include such films as The New World and my personal favorite of his work, Children of Men. Lubezki’s floating camera in The Tree of Life gives a real immediacy and intimacy to the events we witness. The real and surreal are equally delivered with breathtaking beauty. Lubezki needs to win the award for this category.  

The Artist‘s cinematography does what it must do in order for the film to work, in that it emulates what a film of the late 1920s would look like. I appreciated the fact that it does not rely on editing to portray the information necessary to the scene. Guillaume Schiffman packs a lot into the frame, something film critic Jim Emerson explains in greater detail here.

The Girl With the Dragon Tattoo is, without a doubt, beautifully shot. Jeff Cronenweth, like his father, is a good cinematographer. It is difficult, however, to judge how much of his work rests on his own talent and how much is due to frequent collaborator David Fincher. You know a Fincher picture by its visuals from the first shot onward, even though he has used several different DPs throughout his career. For a Fincher picture, the DP doesn’t seem to matter as long as he is good. As for Cronenweth, he shouldn’t despair; Roger Deakins has been nominated nine times without a single win.

Kristin: Each of the nominated films in this category had incredible sets. To pick just one and say that it’s been than the rest is proving difficult for me to do, but I will say that Midnight in Paris served as a favorite of mine in this category because the locations of where it was filmed made me feel like I got to take a trip to Paris with Owen Wilson. Every scene held some kind of beauty and intrigue, taking Wilson to places he read about in books or learned about in a class. My vote is for Midnight in Paris.

Matt: Midnight in Paris really immerses you in the world of 1920s Paris. Nothing about any of the sets felt contrived. The art direction sucked me into that world, and like Gil, I was pretty depressed when I had to leave that world and come back to the 21st century. In Hugo, I especially enjoyed the recreation of Melies’ sets for the film. The automoton was pretty fabulous as well. The Artist had an interesting challenge in that they had to recreate several 1920s film sets. I would be okay with Harry Potter getting some recognition in this category; however, I’d have to go with Kristin on this one.

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Matthew Roth is an aspiring filmmaker from the Madison, WI area. While his passion is narrative film, he currently shoots and edits promotional and event videos at Inframe. In his free time, Matt enjoys researching and discussing film over a cup of coffee or meeting up with fellow film junkies through Craigslist. Be sure to check out his most recent short film Memoria.

Reaction to Oscar Nominations

Everyone’s going to have their own quips about what film was nominated, what film wasn’t nominated, who got snubbed, who got included who shouldn’t have, etc. Some will and some won’t agree with me on any or many of these.

If you read my previous post, you’ll already have a one-up on this one. In more detail, here are my reactions:

What Disappoints Me

  • Shailene Woodley not making the cut for Actress in a Supporting Role. Who got it instead? Melissa McCarthy from Bridesmaids. I can’t even comprehend how there’s a comparison here. I really don’t care to vote between comedy or drama; in terms of role performance, in my humble opinion, Woodley–not McCarthy–should have been nominated.
  • Drive‘s lack of nominations. With its overall positive reviews, ratings, and plug for Ryan Gosling, I’m stunned that it’s walking about with only a single nom. In my latest post, I mentioned the forgotten Albert Brooks. I feel like Drive is walking away forgotten.
  • Joseph Gordon-Levitt missing the nomination. I know most people are more upset over Fassbender not on the ballot. I haven’t seen Shame, and honestly, have little interest in seeing it. Although I would like to see it since there’s been a great deal made about it. This disappointment, however, is regarding JGL–and I am disheartened to see that he has yet to get past Golden Globe nods and break through that Oscar glass.
  • Speaking of JGL, how about Will Reiser’s script not passing for Best Original Screenplay? I’m a little hesitant to praise Annie Mumolo & Kristen Wiig for their Bridesmaids script, and I haven’t seen Margin Call, but I’m still wondering how 50/50 didn’t get nominated.
  • Harry Potter series walks away with zero acting nominations. As discussed with some on Anomalous Material, this isn’t entirely surprising. Actually, considering some of the biggest film series with huge casts, it’s almost not surprising at all. But for us Potter fans, it still hurts a little inside to see not even Alan Rickman get some much-deserved credit, much less a host of other fantastic supporting roles. Oh, and did I mention Daniel Radcliffe? I know I’m not in the majority thinking this, but I can’t help but admit that he did such incredible work, especially in the last film. Not even a Golden Globe nod? What do I say to all that? Boooo.
  • The snubbed Mr. Ryan Gosling. Between DriveIdes of March, and even Crazy Stupid Love, which strangely earned him a Golden Globe nod, Gosling walked away without a single nomination. So I think it’s sad that he didn’t pull through for Drive  or even Ides. With a year that boasted his name more than any other, it’s disappointing.
  • Extremely Loud and Incredibly Close making the Best Picture cut. Are you serious? Here’s a better question: how does a movie with a 48% rating on Rotten Tomatoes get nominated for Best Picture?

What Confuses Me

  • Why is Viola Davis considered the lead actress in The Help? I have no problem with her being nominated. In fact, I support that. But here’s my beef: I watched The Help, and I was under the impression the entire movie that Emma Stone was the lead character. This is lost on me.
  • Why is Emma Stone completely forgotten from The Help? I realize she plays straight to the characters portrayed by Viola Davis, Octavia Spencer, Jessica Chastain, etc. I even almost get that most would not consider her performance Oscar-worthy. But that leads me to three more questions–Why does she not get credit at any awards ceremonies this season for her work in the film? Why is her performance in Easy A considered Golden Globe worthy, but not her role in The Help? And finally, why does Melissa McCarthy get credit for her role in Bridesmaids at the freaking Oscars, but Emma Stone doesn’t get any credit for The Help . . . AT ALL?! Anyone?
  • Why is Berenice Bejo in the Actress in a Supporting Role category? Perhaps this one is more obvious. Jean Dujardin is clearly the lead. Understood. But wasn’t Bejo the lead actress in The Artist? It was the same way at the Golden Globes. I’m just really confused about this.
  • Why is everyone making such a big deal about Rooney Mara in The Girl with the Dragon Tattoo? I realize it was a very polarizing, intense role to portray. I get it. And I can even understand the Oscar nomination. What I don’t get? Why is there all this crazy fuss about her? What other work has she given to film that makes her stand apart from the rest? OK, so she’s just getting nominated for TGWTDT. Understood there. But isn’t that kind of a slap in the face to Noomi Rapace from the Swedish version? I mean only two years prior, she played the same role–and fantastically, I may add–and didn’t receive any of this accolade that is being poured on Mara. Why is that?
  • Why can’t the dogs from Beginners and The Artist get nominated? After all, the one from The Artist saved Dujardin’s life. And the one from Beginners? Doesn’t get much cuter than that. Academy, how about we add a new category, eh?

What Makes Me Happy

  • Perhaps the nomination that delightfully surprised me most was Nick Nolte in Warrior. The film itself hadn’t gotten much praise–good reviews, but not great ones. I realize everyone mentions issues with the film from cliche type story line, to boring cinematography, to “we’ve already seen this movie a zillion times in other sports films.” Got it. But I’m incredibly happy to see Mr. Nolte get some credit for his role. With great performances all around in Warrior, Nolte stood out to me, even considering Edgerton and Hardy. What a well-deserved nomination.
  • The Help and Midnight in Paris showing up on the Best Picture list. Although neither film will be a contender for that category, I’m happy to see both get nominated. The Help received a massive amount of criticism, and I wasn’t sure Midnight in Paris would make the cut, even with its growing popularity.
  • Cars 2 didn’t get an Animated Film nomination. Sorry, Pixar, but 2011 was not your year. Glad to see better animated films get nominated.
  • Gary Oldman nominated. I know this will make a lot of people’s lists of things that made them happy for this year’s Oscars. Although I wasn’t blown away by Tinker Tailor Soldier Spy, I will say that I’m happy to see Oldman receive so much-deserved credit.

Recast Edition: Dr. Horrible’s Sing-Along Blog (2008)

Eventually I’ll get around to reviewing Dr. Horrible, but until then, I wanted to do a special “recast edition” post on the web movie. “Recast Edition” is a type of post where I think of various actors that could potentially fill lead roles in a movie.

Penny

Penny is played by the pitch-perfect Felicia Day, who still might be the most-suited person to ever fill that role (point for you, Joss Whedon!). While she’s played a variety of guest roles on TV,  she’s primarily known for her web series that she created and stars in, The Guild.

My sister, Jenn, and I talked about the idea of recasting these roles, and one actress we both agreed on to play Penny was Zooey Deschanel. I think she is able to fill the shoes of an innocent, caring girl caught between a guy at the laundromat and local hero who just saved her life. Deschanel also has that quirkiness factor that Day has, and on top of that, Deschanel can sing pretty well, making her a nice fit for a supporting role in a web musical.

Captain Hammer

Nathan Fillion does an excellent job of bringing on the cheesiness while being hilarious at the same time. Basically, he plays the perfect douche. Jenn and I battled over this role more so because there are quite a few actors out there who are capable of this. But the big question was, can any of them sing? So after we rifled through various douche-like actors, I came to the conclusion that Jason Sudeikis would make an on-par Captain Hammer. The guy proved he could sing through his long-time running on SNL, and not many actors are capable of evoking a great amount of cheesiness such as Mr. Sudeikis.

Another interesting option to consider is Jon Hamm. Between his hilariously douchey portrayal of Kristen Wiig’s friend with benefits on Bridesmaids to his nice work on his hosting gig for SNL, Jon Hamm has a douche character down. But can he sing? Sudeikis is still my first pick, but I think Hamm would make an excellent back-up plan.

Dr. Horrible

I labored over this role more than the others. It’s nearly impossible to consider seeing anyone else pulling off this role quite like Neil Patrick Harris did. His excellent enunciation, his subtle humor, his clear dedication to taking over the world–is there really anyone else out there who could ever play Dr. Horrible? While I struggle to maintain only a single choice for this role, a few actors who came to mind include Ben Feldman, Joseph Gordon-Levitt, Matthew Morrison, Bill Hader,  and Dominic Cooper.

Let’s break it down, shall we?

Thirty-one year old actor Ben Feldman isn’t known for much more than his most recent and successful role playing Fred on the Lifetime series Drop Dead Diva. Why would he make a good Dr. Horrible? He looks young and vulnerable, yet capable of showing a dark side. And the dude can sing . . . well. After hearing him sing on DDD, I thought he should be in more musical productions.

Joseph Gordon-Levitt. Right, right, I know–he and Deschanel starred in that little, awesome movie called (500) Days of Summer. But why would he be a good fit for Dr. Horrible? First off, he has a certain look that’s similar to NPH, having a slimmer frame. Second, he’s into more grassroots projects, such as his own company he started called “HitRECord,” so the idea of being in a web movie would be appropriate for him. And third, he’s proven he can sing in movies as well as at some of the HitRECord meetings.

Glee’s Matthew Morrison has hit it big since he joined the ever growing-in-popularity FOX show. And many congrats to him for that. The guy came from Broadway like NPH and has a fantastic voice. He even looks the part. My beef with this choice, however, is the question of whether he can act the part. Personally, I regard the guy as a little arrogant from various stories/interviews, but then again, how can we know what a person is really like?

Another SNL guy, Bill Hader easily looks the most different of the group, and that is why I thought of him as an option. He’s great at playing all different types of  characters on SNL, and Dr. Horrible is definitely some kind of character. I’m curious as to whether he can sing or not, but I’m convinced he could play a silly villain easier than the rest of the bunch.

Probably the least known of this group is Dominic Cooper, who was in the film version of Mamma Mia as the character Sky, who played opposite Amanda Seyfried. Why this guy? Well, we’re assured he definitely has the vocal chops. Cooper also has a different look to him. He’s English, but he would probably be fine using a convincing American accent.

So, who to choose from the list? This is the order I would choose them in:

1) Joseph Gordon-Levitt

2) Ben Feldman

3) Bill Hader

4) Dominic Cooper

5) Matthew Morrison

What do you think? Am I way off in my choices? Who would you cast as the leads if you were casting director?

New Dr. Horrible Dream Team?

Yes, I’m Going to Talk about the Golden Globes

And the nominees are . . .

Not going to be listed here. But if you’d like to see a list, they’re just about anywhere else. Like Fandango, or Rotten Tomatoes, where it lists the movies with their RT rating. Kinda nifty.

Unfortunately, I haven’t see all of the films/performances that are up for awards yet. It’s difficult to make it to the theater for all of them, but I can comment on what I know and hope to happen. Here are my personal thoughts on each category, and who I guess will win each.

Best Motion Picture – Drama

I’ve seen 4 out of the 6 nominations. I’m actually stunned Ides of March made this list. Really? But then again, the Golden Globes occasionally pulls an odd nom or two out of a hat, so I’m crediting Ides with being the weird pick. My greatest disappointment is that Tinker Tailor Soldier Spy is entirely void from not only this list, but from the Golden Globes as well. Come on! I’m happy, however, to see Tree of Life not present, because people were making far too big a deal out of that film (if you ask me). I would be happy, however, to see The Help or The Descendants win this category. I enjoyed Moneyball a lot, but don’t think it deserves to win over either of those. I also think Hugo is entirely overrated because it’s a Scorsese film. I can’t comment on War Horse because I haven’t seen it, but it’s difficult to put into the mix when I don’t even have a desire to see it. Perhaps when it is in full release, I will reconsider.

Best Motion Picture – Comedy Or Musical

In this section, I’ve seen half the films. My Week with Marilyn was always on my list to see, but it hasn’t worked out yet. I will personally be pulling for 50/50 to win, because it was my favorite film of the year thus far, but with The Artist having the most nominations of the season, I see it easily stealing this win. Midnight in Paris is a close personal second pick for me. It’s a Woody Allen treat and a great film, but I find it unlikely to beat out The Artist. Unlike the rest of the world (and critics alike), I was not a giant fan of Bridesmaids, although I was impressed with Wiig’s writing more than her performance with it. Surprisingly, Carnage is really pulling out a nice string of nominations, but I doubt it will fare against The Artist, much less Midnight in Paris.

Best Performance by an Actor in a Motion Picture – Drama

This is perhaps one of the easiest categories for me to comment on, because I have seen all the performances except for Michael Fassbender in Shame. However, after reading reviews, if I were to bet on who would surprisingly come up and win this category, I would bet on him. Plus, I think those awards voters smile upon nudity, but that’s those awards voters for you. Judging on all other performances, it appears to be a pretty tight race. Unfortunately for Brad Pitt, I don’t see Moneyball nominations faring well at all against it’s competition. Despite my dislike of J. Edgar, I think DiCaprio gave a fantastic performance. And despite my thoughts, I think voters will overlook him again and go with Fassbender. My personal pick would be between George Clooney in The Descendants and Brad Pitt in Moneyball. I won’t even give Gosling a fair chance in this match because I’m still one of the many stunned that his performance in Drive wasn’t considered for this category.

Best Performance by an Actress in a Motion Picture – Drama

On the complete opposite side of the spectrum, I find myself with little to say, seeing that the majority of these performances are difficult to judge since half the films haven’t been widely distributed yet. The competition appears to be even more fierce in this category when big names like Meryl Streep and Tilda Swinton are included. Although I will be biased and think that Viola Davis is more than deserving of this win, I see either of the former winning this category. I’m also left disappointed with Emma Stone not getting any credit for her work in The Help, but it doesn’t surprise me, unfortunately. I’ve heard great things about Rooney Mara’s performance in the Swedish version of The Girl with the Dragon Tattoo, but I don’t think she has a fighting chance.

Best Performance by an Actress in a Motion Picture – Comedy Or Musical

I feel like I’ve really missed out on all the nominated performances this year–I’ve seen only one in this category as well! And that, being Kristen Wiig in Bridesmaids, which I don’t think will do anything. I see Michelle Williams easily taking this win with her performance in My Week with Marilyn. I’ve heard great things about Charlize Theron‘s polarizing performance in Young Adult, but I don’t know if that will come to anything or not. Two nominations are phoned in for Carnage, but again, it’s difficult to comment having not seen it. Although Kate Winslet seems to be an awards darling more than many.

Best Performance by an Actor in a Motion Picture – Comedy Or Musical

Clear and simple, I would easily place my vote for Joseph Gordon-Levitt to win this category. I was blown away by his performance in 50/50. This is only the second time he has ever been nominated for a Golden Globe. But I think the obvious winner of this category will be Jean Dujardin in The Artist. Again, I’m stunned to see Gosling nominated for Crazy, Stupid, Love, of all the movies to be nominated for. And although I very much enjoyed Midnight in Paris, I doubt Owen Wilson will do anything. Either way, I’m happy to see him nominated.

Best Performance by an Actress In A Supporting Role in a Motion Picture

For this category, the stand-out performance for me was Shailene Woodley in The Descendants. The Help scored two nominations in this narrow category for Octavia Spencer and Jessica Chastain, two actresses that I would also be happy to see win–I think Jessica Chastain has a little more edge then Spencer in this category. But then again, The Artist may take this category, too, with Berenice Bejo‘s performance. More than ever, I’m wishing I had seen that movie so I wouldn’t feel so begrudged in talking about it’s likely and hypothetical victories.

Best Performance by an Actor In A Supporting Role in a Motion Picture

It’s a strange thing to see Drive finally get a nomination with Albert Brooks in this category. My pick would go to Jonah Hill in Moneyball, although I see Christopher Plummer (Beginners) or Viggo Mortenson (A Dangerous Method) walking away with the trophy before Hill does.

Best Director – Motion Picture

I will admit I’m very biased in this category. First things first: No, George Clooney, I don’t think you should win, much less be nominated in this category. Yes Ides was good, but it wasn’t Best Director nomination-worthy. Second: Despite the hype over Hugo, no, Scorsese, I don’t think just because you decided to make a family film that was largely successful, that you should win this category either. What kid wants to sit in a theater for over two hours when the film is more fitting for adults? That’s what The Muppets is for–to make children laugh and smile and sing and enjoy going to the theater. And get ready for it: No, Mr. Allen, I don’t think you should win either. Yes, you are an incredible writer, director, and storyteller, but you’re also the biggest Academy Darling of those listed, and just because those voters love you doesn’t mean you should win every year you’re nominated. Off your high horse. Which leaves Alexander Payne (The Descendants) and Michel Hazanavicius (The Artist). My gut tells me Hazanavicius is going to walk away with it, and I would be all the happier if he did.

Best Screenplay – Motion Picture

My first choice? Midnight in Paris. The writing is the strength of the film, and I think it’s spectacular. I think Ides should be thrown out the window on this one too. It is likely that The Artist could take this one, too, but then again, so could The Descendants. Moneyball was a nice adaptation, but for those who have read the book (*raises hand*), they know it wasn’t a great representation of the book. It was, however, an excellent way to translate the story for today’s viewers and make something that might not entertain most to something that could now entertain many.

Best Animated Feature Film

The question we should all be asking is, where the heck is Kung Fu Panda 2 on this list? Seriously, Cars 2  was the least successful Pixar film to date, yet it still makes it on the list of nominees. If I were to pick a favorite, it would be Puss in Boots. Then again, I remained unimpressed with this list, considering the great past couple years of animated filmmaking.

Best Foreign Language Film

I have little to nothing to say about this category as well, since I haven’t seen a single film on the list. My only thought is that it’s interesting to see Angelina Jolie’s directorial debut make the list, In the Land of Blood and Honey. But that’s all I have to say about that.

Best Original Score – Motion Picture

There’s a great many popular and suspected composers’ scores on this list, from Howard Shore to John Williams to last year’s Oscar winners, Trent Reznor and Atticus Ross for The Girl with the Dragon Tattoo this time around. I put this category entirely up for grabs.

Best Original Song – Motion Picture

I’m definitely a fan of Mary J. Blige’s The Living Proof from The Help, but I can’t help but get angry at not seeing even a showing for The Muppets on this one. Really? I’m actually stunned. This is a huge disappointment for a film with such great original songs.

And those are my thoughts! What are your biggest disappointments and surprises for this year’s Golden Globes?