50 replies to this topic

[Jaelle]

Originally posted by Loomis
Wow, exactly how amazing is LOST IN TRANSLATION?  
I don't think there's ever been a film I've looked forward to more. But it doesn't open in the UK until January.:mad:

I'll be very interested to see your reaction to it, Loomis.

I'm also pleased that Greenaway was excluded. A ludicrous, ludicrously overrated (so-called) director. [/B]

Amen! Amen! I can't stand Greenaway. Sitting thru his films is an experience in mental torture. I would rather sit thru hours of TWINE, DAD, SCOOBY DO and GLEN OR GLENDA? than 30 seconds of any of his films. Blech!:mad:

From Tarl:
you have not seen PREDATOR!!!!!?????? ARE YOU FOOGIN' KIDDING????!!! There were 2 highlight films in the summer of 1987: The Living Daylights and PREDATOR!!! (Ok I liked Robocop, 'Untouchables' and 'No way out' but those two are my favs).
I command you to rent it ASAP-no buy it! It's an awesome film that I never get tired of. Great music, characters, excitement and action and one of the greatest villians/adversaries in cinema history . Arnie's finest hr. >

*A chagrinned Jaelle sends a dutiful salute all the way to Chicago* Yessir. Will do asap.

Mind you, I am not warmly predisposed to Mr. Schwarzenegger at the moment but I rarely let that sort of thing prevent me from enjoying a particular performer's work.

[Loomis]

Originally posted by Jaelle

I'll be very interested to see your reaction to it, Loomis.

Admittedly, my love of Japan has a great deal to do with my excitement (and I have a particular weakness for the "gaijin in Japan" subgenre - everything from ESCAPADE IN JAPAN and YOU ONLY LIVE TWICE to THE CHALLENGE and BLACK RAIN).

I downloaded the LOST IN TRANSLATION trailer a while back (and saw it again in a cinema the other day) and thought it was just about the best trailer I'd ever seen. Tokyo looked as though it had been photographed in exactly the right way, with pin-sharp images and bright colours capturing an extraordinary level of authenticity and detail while making the place seem hi-tech, exotic, strange and exciting. I've no idea how the story and performances will affect me, but I'm certainly expecting a visual masterpiece with terrific use of locations.

I've just visited Box Office Mojo to check out LOST IN TRANSLATION's peformance, and to date it has grossed some $28 million in the States. It's the 79th highest-grossing film of 2003 (the 10 films ahead of it are: JOHNNY ENGLISH, THE FIGHTING TEMPTATIONS, HOLLYWOOD HOMICIDE, LOVE ACTUALLY [which I'm expecting to climb the list - okay, I'll rephrase: I'm hoping it will climb the list:D], THE CORE, DARKNESS FALLS, BEND IT LIKE BECKHAM, DREAMCATCHER, THE HUNTED and MALIBU'S MOST WANTED).

Now, given the old NAKED GUN gag about how Best Picture never goes to "the bomb", should we assume that LOST IN TRANSLATION's Oscar chances will be damaged by the fact that it hasn't exactly set the box office on fire? Indeed - and this is not intended as a sneering remark - is LOST IN TRANSLATION a film that most people in America are likely to have heard of?

Still, I doubt that, say, IN THE BEDROOM packed 'em in, either, so maybe grosses aren't all that important with regard to Academy Award nominations. Not sure about this one.

BTW, Jaelle, I'd be interested in reading your views on Bertolucci. I've not seen many of his films, but I consider THE LAST EMPEROR one of the greatest movies of the last 20 years. I also really like STEALING BEAUTY (which for some reason doesn't seem to be available on DVD here in the UK, annoyingly enough) and BESIEGED. However, THE SHELTERING SKY has to be one of the most pretentious, boring and utterly awful films I've ever attempted to sit through. LAST TANGO IN PARIS I saw years ago and remember liking, and I'd love to see THE CONFORMIST and 1900, but, like STEALING BEAUTY, they don't appear to be available where I am.

Are there any Bertolucci films you'd recommend?

[Jaelle]

Originally posted by Loomis
I've just visited Box Office Mojo to check out LOST IN TRANSLATION's peformance, and to date it has grossed some $28 million in the States. It's the 79th highest-grossing film of 2003 (the 10 films ahead of it are: JOHNNY ENGLISH, THE FIGHTING TEMPTATIONS, HOLLYWOOD HOMICIDE, LOVE ACTUALLY [which I'm expecting to climb the list - okay, I'll rephrase: I'm hoping it will climb the list:D], THE CORE, DARKNESS FALLS, BEND IT LIKE BECKHAM, DREAMCATCHER, THE HUNTED and MALIBU'S MOST WANTED).
Now, given the old NAKED GUN gag about how Best Picture never goes to "the bomb", should we assume that LOST IN TRANSLATION's Oscar chances will be damaged by the fact that it hasn't exactly set the box office on fire? Indeed - and this is not intended as a sneering remark - is LOST IN TRANSLATION a film that most people in America are likely to have heard of?

LOST IN TRANSLATION is one of those films that don't even get distributed in most of the US. Same with IN THE BEDROOM. Only certain big urban areas, or artist colonies like Aspen, CO; Park City, UT; or certain enclaves in New Mexico and Arizona get films like LOST available in a local movie theater. Your everyday suburban theater cineplex has only a small number of films, all of them the big commercial stuff. If they do show a film like LOST IN TRANSLATION, it's only because it's somehow broken thru into the big commercial press (probably after garnering a major award, like an Oscar), and it stays in the area for a very short time. My best friend lives in New Bedford and she had to drive to Boston to see LOST IN TRANSLATION (about an hour's drive). So a film like KILL BILL isn't even available for viewing to the majority of Americans. That's something you always have to consider when looking at a film's box office performance. KB and LIT are not widely distributed films in the US. By contrast, a huge film like DAD is easily available everywhere.

BTW, Jaelle, I'd be interested in reading your views on Bertolucci. I've not seen many of his films, but I consider THE LAST EMPEROR one of the greatest movies of the last 20 years. I also really like STEALING BEAUTY (which for some reason doesn't seem to be available on DVD here in the UK, annoyingly enough) and BESIEGED. However, THE SHELTERING SKY has to be one of the most pretentious, boring and utterly awful films I've ever attempted to sit through. LAST TANGO IN PARIS I saw years ago and remember liking, and I'd love to see THE CONFORMIST and 1900, but, like STEALING BEAUTY, they don't appear to be available where I am.[/B]

Gosh, I'm flattered that you asked.

I've only seen THE LAST EMPEROR, STEALING BEAUTY, SHELTERING SKY, 1900, and LAST TANGO IN PARIS.

THE LAST EMPEROR: an astonishing feat, I agree entirely; and it was an Oscar winner that was a box office disappointment. Bertolucci just *understands* instinctively, from his gut, that film is above all a visual medium, and he uses that understanding so well here---the visuals just wash over you completely.

THE SHELTERING SKY: you have to understand that I am a fanatic about the desert landscape and so I go to see any piece of cr-p that involves the desert. That's why I saw both MUMMY movies. That said, this film was a huge disappointment. The only thing I did appreciate about it was the views of the desert. I don't know what went wrong. Bertolucci is so good at establishing a sense of time and place both aesthetically and spiritually. This just failed miserably.

STEALING BEAUTY: one of the most deceptively lovely films I've ever seen. It's currently my daughter Gina's favorite film. I introduced her to it just recently. I never get tired of watching it. Liv Tyler and Jeremy Irons are wonderful...and the film just looks beautiful.

LAST TANGO IN PARIS: I haven't seen this in many years, but I recall enjoying it very much. I think it's Brando's last decent performance. Bits of the visuals still stay with me to this day and I remember feeling this strange combination of powerful sexual arousal yet emotional depression while watching it. I can't recall ever feeling anything like that with any other film before or since.

1900: I think this is an incredible piece of work! Just the breadth of history, subject matter...the way he uses distinctive characters to embody *ideas* without making them into robots... I don't think I've ever hated a character more than Donald Sutherland in this film. And there is one disturbing shot in the film that I've never been able to get out of my head. This is one of the things Bertolucci does so well: he views *ideas* (political, cultural, whatever) as concrete things that can be dramatized and characterized in a film. He's extremely rare that way.

Are there any Bertolucci films you'd recommend? [/B]

No, because I haven't seen any others. But I've been told I should check out LITTLE BUDDHA as a noble failure.

[Loomis]

Originally posted by Jaelle

Your everyday suburban theater cineplex has only a small number of films, all of them the big commercial stuff.  If they do show a film like LOST IN TRANSLATION, it's only because it's somehow broken thru into the big commercial press (probably after garnering a major award, like an Oscar)....

Same thing in Britain. By the time LOST IN TRANSLATION opens here, though, Oscar buzz may have built up sufficiently to justify a wider release (and maybe a re-release in the States, or are Academy Award nominations unlikely to cut all that much ice?). Still, it'll be no problem seeing the film in London.

I guess what I'm asking is: it seems quite possible that LOST IN TRANSLATION will be nominated for Best Picture (as IN THE BEDROOM, I think, was), but is it insufficiently commercially successful to actually win?

Originally posted by Jaelle

So a film like KILL BILL isn't even available for viewing to the majority of Americans.

Really? That comes as a surprise to me, since KILL BILL is considered a mainstream blockbuster over here (it's showing everywhere), and I assumed that it was equally huge in its country of origin. I'm beginning to appreciate what a great service sites like Ain't It Cool perform, with their promotion of such films, if even the new Tarantino isn't available for most Americans to watch.

*Checks Box Office Mojo*

As of now, KILL BILL VOL. 1 is the 31st highest-grossing film of 2003 in the States. I'm very surprised that it's been outgrossed by the likes of FREDDY VS. JASON and THE TEXAS CHAINSAW MASSACRE, which I would have thought were much more "niche".

Originally posted by Jaelle

By contrast, a huge film like DAD is easily available everywhere.

Ah, well, all's right with the world.

Originally posted by Jaelle

THE SHELTERING SKY:  you have to understand that I am a fanatic about the desert landscape and so I go to see any piece of cr-p that involves the desert.  That's why I saw both MUMMY movies.  That said, this film was a huge disappointment.  The only thing I did appreciate about it was the views of the desert.  I don't know what went wrong.  Bertolucci is so good at establishing a sense of time and place both aesthetically and spiritually.  This just failed miserably.

I'm relieved to read that from you, Jaelle. I was hoping you wouldn't praise THE SHELTERING SKY, otherwise I'd have started asking myself what I'd failed to "get".

Originally posted by Jaelle

No, because I haven't seen any others.  But I've been told I should check out LITTLE BUDDHA as a noble failure.  

Thanks. But, you know, it seems that only a couple of Bertolucci's films are actually available on DVD here. I hope more are released some day, but who'd buy them? A lot of my favourite films (which some would call "art house" or "world cinema" movies) are unavailable on DVD, and it's a crying shame. I was speaking to a film critic once who told me that Satyajit Ray's PATHER PANCHALI sold only about 30 copies in total after being released on video in the UK. Who's going to take chances in such a market?

[Jaelle]

Originally posted by Loomis
I guess what I'm asking is: it seems quite possible that LOST IN TRANSLATION will be nominated for Best Picture (as IN THE BEDROOM, I think, was), but is it insufficiently commercially successful to actually win?

Ah, I get your point (sorry, I was slow on the uptake there). Yes, you're absolutely right -- LIT has a good chance of a nomination but I seriously doubt it could win. Actually, there's one film that I would dearly love to see nominated and I think SERIOUSLY deserves to be considered one of the best films of the year. But I'm afraid to write the title, because...well, it's directed by that QT guy... Ya know, the one with the swords and the voice of that guy from an old TV series called KUNG FU?

As of now, KILL BILL VOL. 1 is the 31st highest-grossing film of 2003 in the States. I'm very surprised that it's been outgrossed by the likes of FREDDY VS. JASON and THE TEXAS CHAINSAW MASSACRE, which I would have thought were much more "niche".[/B]

Oh no, not here. TEXAS CHAINSAW and FREDDY V. JASON are *exactly* the kind of films to be found in your everyday cineplex out in Oshkosh, Jasper (TX) or Springfield, IL (or Springfield, MA for that matter). Whereas KB is a very strange film for your typical American audience. Hard to label, esp. if you're just some joe off the street who doesn't know this is a two-part film, and then you see that ending...! And you're like....wha....?

Ah, well, all's right with the world.[/B]

Says you, you DAD-lover you!

I'm relieved to read that from you, Jaelle. I was hoping you wouldn't praise THE SHELTERING SKY, otherwise I'd have started asking myself what I'd failed to "get". [/B]

I do think Bertolucci took an extraordinary risk in just TRYING to put a Paul Bowles novel on film. I give him credit for even having the guts to tackle Bowles. Bowles is a novelist whom I don't believe is film-able. It's true that some directors have translated difficult novelists successfully. Henry James is one. But they've had to make substantial compromises to the original work. Their films are almost literally *collabotations* between author and director. But Bowles is one of the MOST difficult, even more difficult than James. Personally, I don't think any filmmaker should ever tackle Bowles.

Thanks. But, you know, it seems that only a couple of Bertolucci's films are actually available on DVD here. I hope more are released some day, but who'd buy them? A lot of my favourite films (which some would call "art house" or "world cinema" movies) are unavailable on DVD, and it's a crying shame. I was speaking to a film critic once who told me that Satyajit Ray's PATHER PANCHALI sold only about 30 copies in total after being released on video in the UK. Who's going to take chances in such a market? [/B]

This is SO depressing! I like Ray quite a lot myself, I and he's not easy to find here either. I have to rely on TV channels like Sundance, TCM or the Independent Film Channel to see films like this.

[Sensualist]

Originally posted by Jaelle
So a film like KILL BILL isn't even available for viewing to the majority of Americans.  That's something you always have to consider when looking at a film's box office performance.  KB and LIT are not widely distributed films in the US.  By contrast, a huge film like DAD is easily available everywhere.

Mirimax released Kill Bill on 3,102 screens on October the 10th, 2003. That is quite a wide release. As a comparrison Texas Chainsaw Massacre was released on 3,018 screens. i.e. LESS screens.

By contrast LIT was released on 882 screens on September 12th, 2003.

(Die Another Day was released on 3,314 screens on November 22nd, 2002.)

Kill Bill's weaker box-office perfomance vis-a-vis TCM and DAD had **nothing** to do with its ability to reach a wide audience. Those who wanted to see it, saw it.

[Loomis]

Originally posted by Jaelle

Ah, I get your point (sorry, I was slow on the uptake there).  Yes, you're absolutely right -- LIT has a good chance of a nomination but I seriously doubt it could win.  

So what do you think will win? MASTER AND COMMANDER? SEABISCUIT? THE LAST SAMURAI? That Anthony Hopkins/Nicole Kidman film (its name escapes me - it's not yet on release over here)? RETURN OF THE KING? Something else?

Originally posted by Jaelle

Actually, there's one film that I would dearly love to see nominated and I think SERIOUSLY deserves to be considered one of the best films of the year.  But I'm afraid to write the title, because...well, it's directed by that QT guy...  Ya know, the one with the swords and the voice of that guy from an old TV series called KUNG FU?

Ah, yes, but I very much doubt that it'll even get nominated (although a Best Director nod for QT may not be entirely out of the question, although actually getting the Best Director Oscar probably would be). The Academy and other awards-giving bodies praised Tarantino for PULP FICTION, and there's nothing about KILL BILL that would give them cause to praise him again, not quite so lavishly anyway. I agree, though, that it does seriously deserve to be considered one of the best films of the year.

Originally posted by Jaelle

Oh no, not here.  TEXAS CHAINSAW and FREDDY V. JASON are *exactly* the kind of films to be found in your everyday cineplex out in Oshkosh, Jasper (TX) or Springfield, IL (or Springfield, MA for that matter).

Interesting. I'd thought that the last few TCM, Freddy and FRIDAY THE 13TH films had done only very brief and modest business in cinemas before going to their natural home: video. Still, I guess this year's FREDDY VS. JASON and the TCM remake were relatively big and prestigious productions for the genre, with unusually good marketing campaigns. But I'm still surprised that they reached more American viewers and took more money than KILL BILL. Sheesh. Don't people understand that Quentin Tarantino is the geek king of movies who singlehandedly created his own genre and breathed new life into cinema?

[Sensualist]

Originally posted by Loomis


But I'm still surprised that they reached more American viewers and took more money than KILL BILL.

Kindly read the post directly above. Texas Chainsaw Massacre did make more at the boxoffice but you are incorrect about the number of Americans it reached.

As posted, Kill Bill was released on MORE screens than TCM.

Hope that helps.

[Sensualist]

Here...

Originally posted by Sensualist


Mirimax released Kill Bill on 3,102 screens on October the 10th, 2003.

Texas Chainsaw Massacre was released on 3,018 screens on the 17th.  

[Jaelle]

Originally posted by Sensualist
Mirimax released Kill Bill on 3,102 screens on October the 10th, 2003. That is quite a wide release. As a comparrison Texas Chainsaw Massacre was released on 3,018 screens. i.e. LESS screens.  
By contrast LIT was released on 882 screens on September 12th, 2003.
(Die Another Day was released on 3,314 screens on November 22nd, 2002.)
Kill Bill's weaker box-office perfomance vis-a-vis TCM and DAD had **nothing** to do with its ability to reach a wide audience. Those who wanted to see it, saw it.

I stand corrected. I apparently had wrong information on KB. I was reading from an article in a local paper from southeastern Massachusetts which said that KB was not easy to find around the country. A friend of mine living outside of Tallahassee, FL says she had to drive over to the next county to see it.

[IndyB007]

Originally posted by Genrewriter
Michael Moore on the list?  So Hell finally froze over, eh?  I don't even want to start on the reasons I loathe the man, but my dislike for him rivals Jim's dislike for Pierce Brosnan.

I couldn't agree with you more....

Why didn't Alfred Hitchcock make the list?

[Sensualist]

Originally posted by Jaelle


I stand corrected.  I apparently had wrong information on KB.  I was reading from an article in a local paper from southeastern Massachusetts which said that KB was not easy to find around the country.  A friend of mine living outside of Tallahassee, FL says she had to drive over to the next county to see it.

Perhaps they were living in a more **puritanical** area of their part of the country. Kill Bill had language that was unusually and unnecessarily offensive. It was a movie with its fair share of detractors.

Had Quentin Tarantino's name not been attached to it, Kill Bill would have been considered mediocre at best with nothing new to offer and a movie which pales in comparrison to his earlier work (especially in the area of dialogue.)

[Sensualist]

Originally posted by IndyB007


Why didn't Alfred Hitchcock make the list?

Because he's, ummm, dead?

Full of intelligent people, these forums.

[Jaelle]

[QUOTE]Originally posted by Loomis
So what do you think will win? MASTER AND COMMANDER? SEABISCUIT? THE LAST SAMURAI? That Anthony Hopkins/Nicole Kidman film (its name escapes me - it's not yet on release over here)? RETURN OF THE KING? Something else?[/QUOTE]

Oh gosh I couldn't say. That's what's so interesting about this year. There's no clear cut favorite.

[/B][/QUOTE]Interesting. I'd thought that the last few TCM, Freddy and FRIDAY THE 13TH films had done only very brief and modest business in cinemas before going to their natural home: video. Still, I guess this year's FREDDY VS. JASON and the TCM remake were relatively big and prestigious productions for the genre, with unusually good marketing campaigns. But I'm still surprised that they reached more American viewers and took more money than KILL BILL. Sheesh. Don't people understand that Quentin Tarantino is the geek king of movies who singlehandedly created his own genre and breathed new life into cinema? [/B][/QUOTE]

Apparently, I was wrong about how few Americans KB reached. But my feeling about how QT is received both by mainstream critics and audiences here is that he's pretty much ignored or downplayed as just some crazy director who makes quirky movies about violence using old TV show references. I used to dismiss him as well but something about KB (tho I agree its dialogue wasn't as interesting as his previous films) moved me up a notch into someone who's grown to respect him far more than I ever did. It also helps that I've been reading a lot of his interviews. Plus I will always commend him for reviving Robert Forster's and Pam Grier's careers. His point about how casting agents use the same damned short A-lists and B-lists and C-lists for actors is SO TRUE!!

Anyway, to all the Americans on the board---happy Thanksgiving! We're about to catch a train to Massachusetts and impose ourselves on my mom again for a few days.

[Sensualist]

Originally posted by Jaelle

We're about to catch a train to Massachusetts and impose ourselves on my mom again for a few days.

Enjoy your weekend, Jaelle. It should be a sensory treat.

[Tarl_Cabot]

*A chagrinned Jaelle sends a dutiful salute all the way to Chicago* Yessir. Will do asap."

I want a review too! :mad:

[Jimmy Blonde]

I noticed Walter Salles on the list.

I recommend his Central Station (Brazil, 1998) to all of you, it is truly one amazing film.
Another similar film to recommend is Vittorio de Sica's 'Bicycle Thieves' (Italy, 1948). Most directors state this as one of their key inspirations.

Trust me - I'm a film student

I also like Tarantino's movies and Fincher's 'The Game'.

[Jaelle]

Yes, I re-read the list and saw Walter Salles on it. My mistake, I missed his name first time I read it. I too recommend THE BICYCLE THIEF, probably the most important of the post-war Italian neorealist films that influenced so many contemporary directors.

Sensualist, thanks for the Thanksgiving wishes. Hope everyone here had a good, happy feast. And Tarl, I'll get around to your PREDATOR review at some point....

Over the holiday, I talked to friends and family about movies (as we often do). And I was thinking more about Loomis' question as to which movies he thinks will get recognized for the Oscars this year. BTW, regarding Sensualist's point about KB being distributed widely....I noticed that my movie-going cousins and their friends (all in their teens and 20s) had never even heard of it while all of them had heard about and seen THE TEXAS CHAINSAW MASSACRE. This is in southeastern Massachusetts and no films get banned there for any political reasons. KILL BILL did show up in local theaters there, it just got ZERO publicity and stayed for a very short time. That's why I think KB has made so little impact, regardless of its wide distribution. I saw several TCM trailers on TV weeks before it was released. Before KB was released, I think I saw a total of *three* previews on TV, that's it. The PR for KB was abysmal. I don't think they knew how to market it. TCM is pretty easy to whip up a trailer for, but KB isn't.

Anyway, here are films I think will get some sort of Golden Globe and/or Oscar nods (in various categories):

MYSTIC RIVER
MASTER & COMMANDER
21 GRAMS
LOST IN TRANSLATION

It's possible that THE HUMAN STAIN will get some sort of nod, tho frankly, I think it's a stretch. If Kidman and/or Hopkins get any sort of nomination for their roles, I think it'll be because of their *name* value only (and the fact that there are so few good contenders among the year's film releases), not the strength of their performances in the film itself. Kidman is horribly miscast and Hopkins comes off as confused and inattentive to his character's makeup. Of course I don't think Philip Roth's novel should've been brought to the screen in the first place -- it's one of those novels with characters and ideas that work on the page only. When they're brought to the screen, they just don't have much cinematic impact or resonance.

One film I wish would get some sort of recognition is IDENTITY with John Cusack. Great script.

I think the following actors/actresses are likely to get nominations:

Sean Penn (MYSTIC RIVER, 21 GRAMS)
Naomi Watts (21 GRAMS)

Other actors in both MYSTIC RIVER and 21 GRAMS will likely get nominations as well. I think Clint Eastwood is a shoo-in for a Best Director nomination, and Peter Weir might get one as well. I also think (and hope) Sophia Coppola has a good chance of a Best Director nomination. And as I said before, I really think Quentin Tarantino should get a nomination for Best Director.

One film to look out for (which I've been waiting for for months) is HOUSE OF SAND AND FOG, which should be coming out in a few weeks. It stars Jennifer Connelly and Ben Kingsley. It's a high-profile film, tho I have no idea how good it will be. I've seen a trailer for it. If it turns out to be critically praised, then it has a good chance for Oscar/Globe recognition in some categories.

I don't go for predictions, but if someone were to push me for a guess, I'd say that MYSTIC RIVER will get the Best Picture Oscar and Clint Eastwood will get the Best Director -- that's unless some upcoming film makes an even bigger critical impact.

BTW, over the holiday, I caught some of the James Bond marathon on Spike TV. It was fascinating watching TWINE right before DN, and then FRWL on the next day. I found myself unconsciously comparing the two styles of Bond films, and looking more carefully at TWINE than I ever had done before (esp. the dialogue). TWINE is a film I watch with very superficial attentiveness. It's better that I don't go into more details because the stark contrast between DN/FRWL and TWINE clearly demonstrated to me just how pedestrian and just plain awful TWINE is.

[Jaelle]

Oops, I forgot to mention two other upcoming movies that will get lots of hype and (if they're good enough) will probably get some award recognition:

COLD MOUNTAIN (with Nicole Kidman again)
THE MISSING (another Ron Howard film, tho this one looks to be a better effort than his usual fare)

[Jaelle]

I keep adding to this subject because I keep remembering upcoming films that are getting lots of great buzz:

I expect to hear a lot of good stuff about IN AMERICA and I think it may have a strong presence at the Globes and/or Oscars. I also expect award recognition to go to THE COOLER with William H. Macy.

[DieAnotherDay57]

speilberg isnt even on the list thats ed up. I mean who did this list?
He may not be the best but he should be on the list.