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If you’re looking for a rewarding way to spend an evening, might I suggest avoiding the cineplex. There are a few worth seeing that you can watch from the comfort of your home. Here’s what’s out:
If you are not in the mood for car chases, gun battles, nuclear threats or absurd premises, then I suggest you stay home and rent Silver Linings Playbook. When a Tom Cruise-driven, alien-invasion, end-of-the-world-as-we-know-it extravaganza grosses $5 million opening weekend, you know there are some movies out there resetting the bar. So if you are craving salty snacks, an overpriced soda and some state-of-the-art computer-generated imaging, you won’t be disappointed…And, action!
OK. If your Oscar checklist is complete, and you are nauseated by the options at the cineplex—as well you should be—there is a silver lining. Not Silver Linings Playbook yet, but you have options. There are some great DVDs that came out this week, so if you want to stay in and hunker down with a good movie, these are my suggestions:
Let me start off by saying that had I written my traditional list of Oscar predictions—for which I have a remarkably accurate record. Well, I would have failed miserably this year. This had to have been one of the most unusual, scattered, unpredictable, Academy Awards I have ever seen. That being said, I am prepared to eat a little crow and perhaps do a little Monday morning-quarterbacking.
February is finally here, which means Oscar season is finally here. Nevertheless, the hangover of the January curse still lingers. So I have compiled a list of dos and don’ts, if you are so inclined to head to the theater in the next couple of weeks. These are the dos.
The Baldwin Report
It’s that time of year when A-list actors wait patiently by the phone and pretend that awards mean nothing (and that approval from colleagues and fans is recognition enough), but hoping against hope that their agent calls to tell them they got an Oscar nomination. The nominations were announced last week, and I must say there were a few surprises…and not the good kind.
I sound like a broken record when I complain about romantic comedies: boy meets girl, boy loses girl, boy gets girl back. The film has to follow the formula or the audience is disappointed. So how does a screenwriter inject originality into that formula? Are the characters unknowingly related (gross)? Is one limbless or royal or Dutch? Or…mentally ill?