The nominees for the 2012, 84th Annual Academy Awards have been released and the film industry is already buzzing with speculation on who will take home the Oscar on February 26th. Here’s my two cents about the nominees, who got snubbed, and an early (tentative and subject to change!) prediction about who could take home the gold. I only reviewed the nine most-talked about categories: Best Picture, Best Director, Cinematography, Best Lead Actor, Best Supporting Actor, Best Lead Actress, Best Supporting Actress, Best Original Screenplay, and Best Adapted Screenplay. I will include every category in my official prediction post, which will come when the Oscars get closer.

Could "The Artist" be another "Slumdog Millionaire"-esque Oscar-sweeper?

Contenders: “The Artist,” “The Descendants,” “Extremely Loud and Incredibly Close,” “The Help,” “Hugo,” “Midnight in Paris,” “Moneyball,” “The Tree of Life,” “War Horse”

Didn’t Make the Cut: “Drive”, “The Ides of March”, “Young Adult”, “Tinker Tailer Soldier Spy”, “The Girl with the Dragon Tattoo,” “My Week with Marilyn”, “Bridesmaids”

Thoughts: No surprises here. Five of the films tote big-name directors: “The Descendants” (George Clooney), “Hugo” (Martin Scorsese), “Midnight in Paris” (Woody Allen), “Tree of Life” (slightly lesser known Terrence Malick), and “War Horse” (Steven Spielberg). Three films were based on best-selling books: “Extremely Loud and Incredibly Close,” “Moneyball,” and “The Help”. And the remaining film, “The Artist”, has always been seen as an awards contender ever since it’s release. The Academy remained predictable as ever this year for the Best Picture noms.

Every movie fan is bound to have at least a few films that they’re annoyed didn’t get picked, and this year mine were “Drive” and “The Ides of March.” “Drive”featured excellent cinematography, a catchy soundtrack, a unique story and a killer performance by Ryan Gosling (also ignored by the Academy this year, we’ll get to that later). “The Ides of March,” was easily my favorite film of the year. It was an edge-of-your-seat thriller that kept you guessing and featured another great Ryan Gosling performance, as well as excellent writing and supporting appearances by George Clooney, Paul Giamatti, Evan Rachel Wood, Marisa Tomei, and Phillip Seymour Hoffman.

Early Prediction: I think Best Picture will come down to a fight between “The Artist” and “The Descendants.” “The Descendants” took home two Golden Globes (Best Picture and Best Actor – Drama) a few weeks ago, but “The Artist “boasts a whopping ten Oscar nominations to “The Descendants”‘ five. In the end, I see “The Artist” eventually going home with the gold. I’ve yet to see it, but the film is a classic case of the artsy, indie film that voters just love to throw awards at.

George Clooney in "The Descendants"

Contenders: Demián Bichir (“A Better Life”), George Clooney (“The Descendants”), Jean Dujardin (“The Artist”), Gary Oldman (“Tinker, Tailor, Soldier, Spy”), Brad Pitt (“Moneyball”)

Didn’t Make the Cut: Ryan Gosling (“Drive “or “The Ides of March”), Leonardo DiCaprio (“J. Edgar”), Michael Fassbender (“Shame”), Michael Shannon (“Take Shelter”)

Thoughts: The only real surprise amongst the five nominees is Demián Bichir for his role in “A Better Life”. I vaguely remember seeing the trailer for this film, but that was the last time I had heard or thought about it until Bichir got this nomination. The performance must be a doozy for him to knock out the likes of DiCaprio and Fassbender. After leaving Ryan Gosling out of the race for the second year in a row (he wasn’t nominated for “Blue Valentine “last year, though Michelle Williams was), I’m beginning to wonder what the Academy has against the guy. As “The Hollywood Reporter” points out in it’s Oscar snubs article, it was a great year for Gosling, who had three really good films – “Drive, The Ides of March, “and “Crazy Stupid Love.” “THR” goes on to speculate that his lack of a nomination might have to do with him not making the rounds and doing the awards circuit to promote himself and lobby for a nomination. Which makes me mad, because the Academy should be voting on an actor’s performance, not the number of appearances he makes or parties he attends.

Early Prediction: Clooney and Pitt both gave the best performances of their careers this year, but again I think this category comes down to “The Descendants “vs. “The Artist. ” I’ve yet to see “The Artist “so I can’t say who I think deserves it, but at this point I’ll call Jean Dujardin the winner. We may have another “Slumdog Millionaire -”style Oscar-sweeper on our hands with “The Artist”, and it doesn’t help that Clooney already has an Academy Award under his belt (a Best Supporting Actor for 2005′s “Syriana”).

Side Note: How is this Gary Oldman’s first Oscar nomination, ever? That just seem so wrong…

Kenneth Branagh as Sir Laurence Olivier in "My Week with Marilyn"

BEST ACTOR IN A SUPPORTING ROLE

Contenders: Kenneth Branagh (“My Week with Marilyn”), Jonah Hill (“Moneyball”), Nick Nolte (“Warrior”), Christopher Plummer (“Beginners”), Max von Sydow (“Extremely Loud and Incredibly Close”)

Didn’t Make the Cut: Albert Brooks (“Drive”), Armie Hammer (“J. Edgar”), Andy Serkis (“Rise of the Planet of the Apes”), Patton Oswalt (“Young Adult”)

Thoughts: Who would’ve thought the pudgy kid from “Superbad “would be an Oscar contender? I certainly didn’t, and I’m still not sure he belongs up there with the likes of Kenneth Branagh and Christopher Plummer. Sure, Hill did a decent job in “Moneyball,” but I certainly didn’t leave the theater thinking it was an Oscar-nomination-worthy performance.

I actually would’ve preferred it if Andy Serkis had gotten the nom over Hill. This could have been the Oscars in which motion-capture performances were finally given their due. Say what you will about the goofy “Rise of the Planet of the Apes”, but if you see the work that goes into Serkis’ role as Caesar the ape it’s really impressive. This was a chance to right the wrong of Serkis never receiving a nomination for his landmark performance as Gollum in the “Lord of the Rings “trilogy.

Early Prediction: I’d say this category boils down to a Plummer vs. Branagh match-up. This is Plummer’s 2nd nomination and Branagh’s 5th, and neither has yet to win an Oscar. Plummer was good in “Beginners,” but Branagh was exceptional as Sir Laurence Olivier in “My Week with Marilyn.” Gold goes to Branagh.

Glenn Close as Albert Nobbs

BEST ACTRESS IN A LEADING ROLE

Contenders: Glenn Close (“Albert Nobbs”), Viola Davis (“The Help”), Rooney Mara (“The Girl with the Dragon Tattoo”), Meryl Streep (“The Iron Lady”), Michelle Williams (“My Week with Marilyn”)

Didn’t Make the Cut: Shailene Woodley (“The Descendents”), Charlize Theron (“Young Adult”), Tilda Swinton (“We Need to Talk About Kevin”), Kirsten Dunst (“Melancholia”), Elizabeth Olson (“Martha Marcy May Marlene”)

Thoughts: Tilda Swinton’s absence from the list of nominees seems to be on the list of everybody’s top “Oscar snubs” this year. This category could be a tight one, with all very transformational roles in the running – Streep portraying Margaret Thatcher, Williams playing the iconic Marilyn Monroe, Rooney Mara almost unrecognizable as hacker Lisbeth Salander, Davis as maid/nanny Aibileen Clark, and Glenn Close as woman pretending to be a man.

Early Prediction: This one should be Glenn Close‘s – this is her sixth Oscar nomination and she’s yet to win. Meryl Streep has been nominated a whopping 17 times but she’s also already won twice. This is Michelle William’s third nomination (no wins yet) and Viola Davis’ second (no wins yet either). Close seems overdue for a win, and her role seems to be the most challenging since she’s essentially playing a man. Plus, Williams and Davis are younger and have more of their careers ahead of them.

Octavia Spencer as Minny Jackson in "The Help"

BEST ACTRESS IN A SUPPORTING ROLE

Contenders: Bérénice Bejo (“The Artist”), Jessica Chastain (“The Help”), Melissa McCarthy (“Bridesmaids”), Janet McTeer (“Albert Nobbs”), Octavia Spencer (“The Help”)

Didn’t Make the Cut: Shailene Woodley (“The Descendants”), Cary Mulligan (“Shame “or “Drive”), Marion Cotillard (“Midnight in Paris”), Melanie Laurent (“Beginners”)

Thoughts: What’s that, a surprising Oscar nomination?! I didn’t think such a thing existed. But wouldn’t you know, the Academy catches us napping and actually nominates Melissa McCarthy for “Bridesmaids.” I still haven’t seen the movie, but regardless of what I end up thinking of it, I still love this nomination.

First off, it’s a nomination for a woman in “a comedy film”. That’s almost unheard of at the Oscars, and to see a comedy get two nominations (“Bridesmaids “also got a nom for Best Original Screenplay) is really refreshing. Even if the movie loses both categories, I still hope that their inclusion marks a new era in which comedies will be given more credit and eventually, maybe even a few awards. I’m not saying that “The Hangover “should have been up for Oscars, I’m just saying that I feel there are some really exceptional comedies of late that it wouldn’t hurt to recognize with a few nominations.

Secondly, Melissa McCarthy has been nominated for being a “funny” woman. I’m not sure when the last time was that a Supporting Actress nominee came from a comedy film (if it ever has happened, that is). This nomination carries on the message that “Bridesmaids “has carried from the start: that women can be just as funny as men and just as successful in the comedy genre.

Early Prediction: It was big enough for the Academy to nominate Melissa McCarthy in the first place, so I don’t see her then taking home the Oscar as well (as cool as that would be). Due to the recent “Artist “blitz this awards season, I think Bérénice Bejo might have this one in the bag. Plus, critics weren’t big fans of “The Help “or “Albert Nobbs” (which scored 62/100 and 55/100, respectively, on Metacritic).

Woody Allen directs Owen Wilson and Carla Bruni on the set of "Midnight in Paris"

BEST DIRECTOR

Contenders: Martin Scorsese (“Hugo”), Michel Hazanavicius (“The Artist”), Alexander Payne (“The Descendants”), Woody Allen (“Midnight in Paris”), Terrence Malick (“The Tree of Life”)

Didn’t Make the Cut: Nicolas Winding Refn (“Drive”), George Clooney (“The Ides of March”), David Fincher (“The Girl with the Dragon Tattoo”), Bennett Miller (“Moneyball”), Clint Eastwood (“J. Edgar”), Steve McQueen (“Shame”), Jason Reitman (“Young Adult”)

Thoughts: God I hope Terrence Malick doesn’t win. Much to the anger of pretentious/artsy-film-lovers everywhere, I heartily disliked “The Tree of Life”. To be honest, I’m pretty disappointed with the nominees this year. Looking at the rather long list of directors who missed out, I’d prefer most of them over those who have been nominated. Again, it’s a damn tragedy that Winding Refn and Clooney were left out. But it’s no use crying over spilled milk, so if I have to pull for one of the nominees, it would be Alexander Payne. “The Descendants “is the best film that received nominations this year (besides “Ides of March”), so I’d like to see Payne take home the statue.

Early Prediction: Besides “The Artist “having a recent hot-streak and touting the 2nd-most nominations this year with 10 (just behind “Hugo”‘s 11), I think the Academy might vote for the newcomer this year and go with Hazanavicius. Payne already has an Oscar, which he won for the last film he was nominated for – 2004′s “Sideways”. Scorsese is in the same boat, with an Oscar for “The Departed”, and Malick has been nominated twice before. So at this point, I’m calling this another victory for “The Artist”.

CINEMATOGRAPHY

Contenders: “The Artist,” “The Girl with the Dragon Tattoo,” “Hugo,” “The Tree of Life,” “War Horse”

Thoughts: To be honest, I’ve only seen one of these nominees – “Tree of Life. “As much as I disliked the film, the one thing I appreciated was that it truly was beautifully shot. It’s not an exaggeration at all to say that you could pause the film at any point, and the frame you froze on could hold its own as an incredible still photo hung on the wall of a photography exhibit somewhere. I’d have to see the other movies to be sure, but my guess is that “The Tree of Life “has this year’s best cinematography.

Early Prediction: A fight between “The Artist” and “The Tree of Life,” with “The Artist” winning out. A more informed prediction is still-to-come.

BEST ADAPTED SCREENPLAY

Contenders: “The Descendants,” “Hugo,” “The Ides of March,” “Moneyball,” “Tinker Tailor Soldier Spy”

Thoughts: I’d love “The Ides of March” to win the one category it’s up for, particularly because I think it is the most worthy amongst the fellow nominees. But it’s doubtful that’s going to happen, so if “Ides “can’t win, I’m rooting for “The Descendants”. It was an excellent script, and it would be really awesome to see one of the co-writers, Jim Rash, to win an Oscar. Some people may be more familiar with Rash as the character Dean Pelton on NBC’s “Community”, which is my favorite current TV show.

Early Prediction: With the film sitting well on it’s other four Oscar nominations, I think “The Descendants” is the one to beat in this category. “Tinker” could give it a run for it’s money though.

Could "Bridesmaids" be an Oscar winner?

BEST ORIGINAL SCREENPLAY

Contenders: “The Artist,” “Bridesmaids,” “Margin Call,” “Midnight in Paris,” “A Separation”

Thoughts: Go “Bridesmaids!” It feels odd to be cheering for a film that I’ve yet to see and could possibly even dislike once I see it. But in rooting for “Bridesmaids,” I’m rooting for the comedy genre in general, which I think is an important cause. Plus, wouldn’t it be refreshing to see an upset (gasp!) at the Oscars this year? Down with predictability!

Early Prediction: Like Melissa McCarthy’s nomination for her performance in “Bridesmaids”, I have a feeling a nomination is as far as this film is going to go. “The Artist” is certainly the talk of the town right now and far more prominent than “Midnight in Paris” and the indies “Margin Call” and “A Separation”. I’m chalking this one up to another one for “The Artist.”

Naughty Dog released this new footage of Uncharted 3′s desert environment, and it’s downright gorgeous. Fair warning before you check it out, there’s one minor spoiler…sort of. Uncharted 3 launches for the PS3 on November 1, 2011. Enjoy!

wireimage.com

Daniel Radcliffe takes on a horror movie as his first role after “Harry Potter,” and the trailer has finally been released.

“The Woman in Black” is based on a 1983 novel by Susan Hill that follows Arthur Kipps (played by Radcliffe), a young lawyer assigned to sort out a dead client’s affairs.  On his journey, Kipps discovers that a nearby town is haunted by the ghost of a scorned woman.

MTV news offers a pretty thorough (and humorous) analysis of the trailer, which is pretty typical for any horror movie.  It features creepy dolls, dreary weather and bloody writing (which is slightly reminiscent of the writing on Hogwarts’ walls in “The Chamber of Secrets”).

Radcliffe explained that he took on a new project so quickly after the decade long Potter endeavor so he didn’t fall off the map.

“If I had been taking some time off and not doing stuff, I think the temptation in terms of the media and the public, to a certain extent, is [that] if you don’t hear from a child star for a while, you can kind of condemn them to the been-and-gone pile,” Radcliffe said to MTV news last spring. “I wanted to make sure that didn’t happen.”

View the trailer here:

wireimage.com

DreamWork’s “The Help” kept up its popularity, grossing $5.8 million on its second Friday, according to a rival studio’s estimate.  The movie is expected to gross about $21 million this weekend, reuters.com reported.

“The Help” soared above Liongsgate’s remake of the 1982 Arnold Schwarzenegger’s film, “Conan the Barbarian,” which grossed a mere $3.7 million this Friday.  The film cost about $70 million to make is not even expected to make $10 million for the weekend.

“Rise of the Planet of the Apes” grossed $4.7 million on its third Friday and took second place, but “Spy Kids: All the Time in the World” gave it a run for its money, grossing $3.9 million on Friday.

The fourth movie in the “Spy Kids” series is expected to gross about $12 million this weekend, meeting pre-release projections.

Bigger than any May finale cliffhanger or bombshell is the one that just popped in our laps about the eighth (and final) season of “House:” Cuddy will not be a part of it.

“After much consideration, I am moving onward with a combination of disappointment at leaving behind a character I have loved playing for seven years and excitement of the new opportunities in acting and producing that lie ahead,” Edelstein said in a statement.

As Edelstein didn’t have a contract for the eighth season and was currently negotiating a new deal, it’s possible she rejected a lowball deal as the show is currently amidst a budget-cutting process.

For several years “House” had been one of the most-watched shows on television, and remains so, but dropped more than 30 percent in the ratings in its seventh season. Some fans have attributed that to lackluster storylines (this fan who checked out this season included), but those same fans will probably be howling at Cuddy’s unceremonious departure.

Given it was expected that Edelstein would return, there will likely not be any closure in her romance with “House” in next weeks season finale.

This Friday, Boston’s Theater District gets “Modern.”

Suffolk University is officially unveiling its full restoration of the Modern Theater, a jazz age movie house, now a multi-use performance space and student residence in the heart of Downtown Crossing, 525 Washington Street, just steps away from the newly renovated Paramount Center. On Friday, November 5 from 12PM-6PM, the public is invited to any open house at the Modern and will be treated to “special entertainment,” according to a press release.

An officially designated “Boston Landmark,” the Modern Theater was the city’s first venue designed specifically for showing motion pictures. Originally built as a warehouse and retail space 4 years after the Great Boston Fire had destroyed its neighborhood, The Modern was converted into a movie house in 1914. The newly renovated Modern, a LEED-certified building decked out with a marble and sandstone façade, a new frieze in its lobby and a new mural painted on its stage house walls, seats 185 and will host films, live performances and discussions.

Its inaugural season boasts a reading by multiple award-winning film star F. Murray Abraham, a staging of  “Antony and Cleopatra” by Actors’ Shakespeare Project, a documentary film series with DockYard Productions, and “conversations” with comedian Lewis Black, Daily Beast political journalist Peter Beinart, Globe columnist, James Carroll, psychiatrist and author Robert Jay Lifton and esteemed novelist, Maxine Hong Kingston. It will also be used to develop “Car Talk: The Musical!” based on the beloved locally produced NPR show, which will feature voice overs from Click and Clack themselves as well as celebrity call-in guests.

A promising start for the Theater District’s Modern Era.

LOS ANGELES — The Anaheim International Film Festival announced its lineup on Monday. This year, 127 feature films and shorts will be featured in additional to speaker events, panels, and galas over the five-day period, October 13-17 at the UltraStar Cinemas at Anaheim GardenWalk

There will also be a special presentation of “Sixteen Candles” with a tribute to the late director John Hughes.

“Our team has worked very hard to deliver a world-class film program that will establish the AIFF as a valuable platform for emerging filmmakers and long-term addition to the festival circuit,” said Sinan Kanatsiz, chairman of the festival.

Opening Night Films

WILD TARGET (representing narrative films)

Directed by Jonathan Lynn and featuring the all-star cast of Emily Blunt, Rupert Everett, Rupert Grint, Bill Nighy, Eileen Atkins, Martin Freeman and Gregor Fisher, WILD TARGET is an action comedy about a middle-aged, solitary assassin who lives to please his formidable mother, despite his own peerless reputation for lethal efficiency. His professional routine is interrupted when he finds himself drawn to one of his intended victims — a beautiful thief. He spares her life, unexpectedly acquiring in the process a young apprentice. Believing the assassin to be a private detective, his two new companions tag along, while he attempts to thwart the murderous attentions of his unhappy client.

MONICA & DAVID (representing documentaries)

Directed by first time filmmaker Alexandra Codina, MONICA AND DAVID explores the marriage of two adults with Down syndrome and the family who strives to support their needs. Monica and David are blissfully in love and want what other adults have: an independent life. Full of humor, romance and everyday family drama, the film weaves together intimate footage with personal interviews, revealing the complexity of their story. While Monica and David are capable beyond expectations, their parents, who worry about rejection from the mainstream world, have trouble letting go. Although marriage is very unusual for adults with intellectual disabilities, throughout the film Monica and David become a model for love and challenge what it means to be an adult. The film premieres nationally on HBO October 14.

GOING VERTICAL: THE SHORTBOARD REVOLUTION (representing Wild Blue: The AIFF Sports Showcase)

Directed by David Bradbury, the documentary seeks to unravel one of surfing’s great mysteries: Who started the Shortboard Revolution? Filmed in Australia, Hawaii and California and featuring extraordinary archival footage of surf legends of the past four decades as well as the hottest surfers today, GOING VERTICAL: THE SHORTBOARD REVOLUTION is not your usual surfing film. Set to a pumping soundtrack including tracks by Pearl Jam, Powderfinger, Spoon and Boards of Canada plus iconic artists from the summer of love including Manfred Man, Russell Morris and Thunderclap Newman, the film tells the story of an era, of a revolution and the extraordinary characters that made it happen. The film is narrated by Simon Baker.

SUMMER WARS (representing animation)

Directed by Mamoru Hosoda, the animated adventure focuses on ‘Kenji Koiso,’ an eleventh grade math genius, following his decision to take a summer job at the Nagano hometown of his crush, ‘Natuski.’ When he arrives, he finds that her family has reunited to celebrate the 90th birthday of the family matriarch and he must pretend to be her fianc©. As if that isn’t enough to contend with, his attempt to solve a mathematical equation has caused a parallel world’s collision with earth.

SIXTEEN CANDLES (Special Presentation)

John Hughes’ classic comedy stars Molly Ringwald as a fifteen-year-old girl with a crush on the most popular boy in school. However, standing between her and the boy is the geekiest boy in school with a crush on her, her big sister’s wedding, a visit by inappropriate grandparents, and on top of it all — the indignity of having the rest of her family forget her birthday. Add all this adds up to the makings of a hilarious and unforgettable journey into young womanhood. The film also stars Anthony Michael Hall, Michael Schoeffling, Justin Henry, John Cusack and Joan Cusack.

OPENING NIGHT SHORTS SELECTIONS

This exclusive presentation salutes some of today’s best and brightest shorts filmmakers. Representing most of the various styles that will play over the course of the film festival, the films include Joshua and Rebekah Weigel’s BUTTERFLY CIRCUS; Max Lang’s and Jakob Schuh’s THE GRUFFALO; Iram Haq’s LITTLE MISS EYEFLAP; Natalia Mirzoyan’s MY CHILDHOOD MYSTERY TREE; Lilli Birdsell’s ONCE UPON A CRIME; James Redford’s QUALITY TIME, starring Jason Patric; Cordell Barker’s RUNAWAY; and Peter Meech’s WINNER BEST SHORT FILM.

Closing Night Feature

INHALE

Directed by Baltasar Kormakur, the dramatic thriller stars Dermot Mulroney, Diane Kruger, Rosanna Arquette, Sam Shepard, Vincent Perez and Jordi Molla. The story follows the horrific struggle a couple go through upon discovering their daughter has been diagnosed with a rare degenerative disease. Needing a lung transplant, but with many patients ahead of her on the waiting list for donors, they seek out a mysterious doctor who performs transplants in Juarez, Mexico. However, in the course of their pursuit, they uncover an illegal organ harvesting operation where the donors are in fact, the victims and now they may have to choose between saving the life of their daughter or saving the lives of many other children.

For the complete list, visit anaheimfilm.org

Children who watch R-rated films are more likely to start drinking alcohol at an early age, according to researchers at Dartmouth Medical School in Hanover, N.H.

Researchers at the Department of Pediatrics and Norris Cotton Cancer Center at Dartmouth Medical School questioned almost 3,600 middle-school students in 15 New England schools, and followed up with them 13 to 26 months later. During that time, only 3 percent of children who said their parents never allowed them to watch R-rated films also said they had started drinking alcohol. Comparatively, 13 percent of those who had responded that their parents sometimes allowed them to watch R-rated films said they had started drinking, as well as 25 percent of those who said their parents always let them watch R-rated films.

"The research to date suggests that keeping kids from R-rated movies can help keep them from drinking, smoking and doing a lot of other things that parents don’t want them to do," Dr. James D. Sargent, a pediatrics professor at Dartmouth Medical and an author of the study, told Bloomberg Businessweek.

The findings were published in the May issue of the Journal of Studies on Alcohol and Drugs. The article’s introduction stated prior research has linked various forms of entertainment, including R-rated, or "restricted", films to personality and behavioral changes in youth, including aggression, sexual behavior and tobacco use.

"We think seeing the adult content actually changes their personality." Sargent said. The study’s introduction also discusses the consequences of those personality changes: those who start using alcohol earlier are five times more likely to develop adult alcoholism, with a subsequent increase in alcohol-related injury and death.

Sargent told Bloomberg depictions of alcohol consumption occur in about 90 percent of R-rated films, which might be one reason adolescents who watch R-rated films are more drawn to drinking. The Motion Picture Association of America ratings board issues film ratings for all films distributed in the US, bans children under the age of 17 watching an R-rated film in theaters without supervision. But in the end it is parental judgment that dictates what a child will or will not be able to watch.

"We think this is a very important aspect of parenting, and one that is often overlooked," Sargent said.

In 2010, Hollywood will be turning to the past for story ideas, choosing to add a modern twist to old classics. The year’s "let’s do it again" line-up includes “The Crazies,” “Death at a Funeral,” “Karate Kid,” “Red Dawn,” and yet another “Nightmare On Elm Street.”

In an uncertain economy, moviemakers are sticking what’s worked before rather than risking something new, according to Associated Content. Even a bad remake will attract viewers, whether they are die-hard fans of the original or just curious what that "modern twist" will look like.

The most premature re-do to hit the screen in 2010 will be “Death at a Funeral,” originally released just three years ago. Variety reported that director Neil Labute and comedian Chris Rock will remake the British movie this year in an urban American setting.

The new “Karate Kid,” to be released this June, has also raised some eyebrows. There seems to be a little confusion over the title of the movie, which will star Jackie Chan and Will Smith’s son Jaden. Chan told MTV, "I don’t know [what it's going to be called]. Probably ‘Kung Fu Kid’ in China and ‘Karate Kid’ in America. Maybe a different title? I don’t know. But mostly we’ve called it ‘The Kung Fu Kid.’"

Maybe producers will strike gold with these re-designed releases, but the classics might be better off left untouched. It’s up to moviegoers to watch and decide, which is exactly what Hollywood is counting on.

FOR IMMEDIATE RELEASE

Contact John M. Guilfoil, Editor-in-chief — 617-933-8949, guilfoil.j@blastmagazine.com

Blast: Boston’s Online Magazine is sending three reporters to Sundance Film Festival

BOSTON — BlastMagazine.com will send three reporters to Utah later this month to bring the hottest news in film to Blast and Boston.

Entertainment editor Brooklynne Peters, Blast film critic Ned Prickett, and video journalist Melissa Unger will go to the Sundance Film Festival January 21-25. They will send back stories in the forms of writing, photographs, podcasts, and videos.

Blast is very excited to be able to muster the resources to send three reporters across the country. We are especially proud that, as an online magazine, we can do this when many print publications can’t.

ABOUT BLAST:

Launched at the stroke of midnight on New Year’s Eve 2007, BlastMagazine.com, Blast: Boston’s Online Magazine, has grown like a weed for three years. It is a Generation Y publication focused on young, hip Bostonia with a global vision. Blast covers music, movies, TV, video games, fashion, food, sex, relationships, science, health, technology, and more. The site also covers world, local and national news. According to Alexa.org, Blast is the third most followed online publication in Boston behind Boston.com and BostonHerald.com. Blast has more than 100 contributing writers, bureaus in New York, Miami and San Diego, and reporters on three continents.

One of Blast’s resident film critics weighs in on the top 10 movies of last year.

10. Funny People: While many didn’t connect with Judd Apatow’s third film, I found it to be his most complete and satisfying feature to date. Boasting an honest and emotionally unguarded performance from Adam Sandler as George Simmons, a famous comedian who finds out he is dying- and then that he isn’t. While the film proves a bit ungainly at times, it’s both sweet and wickedly funny.

9. District 9: Along with "Star Trek" and "Avatar,” “District 9″ proved that Sci-Fi can be both smart and tons of fun. Neil Blomkamp’s first feature is exciting, thrilling, brutal and packs a surprising and rather emotional punch at the end. First time actor Sharlto Copley makes a great unlikely hero as Wikus and Blomkamp is definitely a director to watch.

8. Up: Yet another classic from Pixar. As gorgeous and intelligent as you would expect from Pixar, which can seemingly do no wrong. And "Up’s" opening, which tells a couple’s 60 year story in 10 minutes, is as emotionally affecting as anything I saw all year.

7. The Road: John Hillcoat’s second feature is as unflinching as his first. An adaptation of Cormac McCarthy’s Pulitzer Prize winning novel tells the story of a man protecting his young son as they journey across a post-apocalyptic U.S., rife with cannibalism and haunting reminders of an entire culture lost. Viggo Mortensen gives yet another fine performance as the desperate father and strengthens his status as one of the finest actors working. The film doesn’t shy away from the dark nature of the subject matter, but still earns its somewhat hopeful ending.

6. An Education: Director Lone Scherfig’s delicately told story about Jenny, a London teen in the 1960′s, who falls for the wrong man. Nick Hornby’s script is beautifully constructed and heartbreakingly honest. And Carey Mulligan is sensational as Jenny, embodying innocence and a woman’s maturity in equal measure. Mulligan easily earns the comparisons she has been getting to Audrey Hepburn. While she has been somewhat overshadowed by Meryl Streep so far this awards season, Mulligan’s performance was the best by an actress I saw all year.

5. Avatar: The year’s most singular cinematic experience. James Cameron’s first film in 12 years is a visual triumph and demands to be seen on the biggest screen possible. Using newly designed Performance Capture technology Cameron creates an entire world and a new species, the Na’vi who feel like living, breathing and most importantly, feeling creatures.

4. The Hurt Locker: Katherine Bigelow’s visceral and thrilling tale follows William James, a bomb unit member serving in Iraq. The action is fierce and genuinely exciting and Jeremy Renner turns in a star-making and award-worthy performance as James, an adrenaline junky who only feels alive when he is deciding which wires to cut to defuse a bomb. "The Hurt Locker" keeps the tension dialed up to the max and brilliantly captures the violence and destruction that follows an explosion. Bigelow, who has a real chance to be the first female director to win an Oscar, delivers the best and most muscular action film in years.

3. 500 Days of Summer: Along with "Up in the Air" proves that romantic comedies don’t have to be mind-numbingly predictable. Director Marc Webb and a smart script make this tale of love found and lost wholly original. "(500) Of Summer" shows that a love story does not have to have a happy ending to be funny and romantic.

2. Inglorious Basterds: Quentin Tarantino’s ode to cinema and Nazi killing is a delight from start to finish. While Brad Pitt is fun as Aldo Raine, the hillbilly leader of the Basterds, it’s Christophe Waltz who walks away with the movie. Waltz’s turn as "Jew Hunter" Hans Landa is the year’s finest performance and Landa proves to be an instant classic screen villain. "Inglorious Basterds" is Tarantino’s ode to the power of cinema, which he proves by rewriting history in grand fashion. When Aldo Raine looks into the camera at the end of the film and says "I Think this might be my masterpiece" it is hard not to agree with him.

1. Up In the Air: Jason Reitman continues his ridiculously hot start to his directing career with his third and finest film. "Up in the Air" takes flight thanks to three fine performances from George Clooney, Vera Farmiga, and Anne Kendrick and a funny and perceptive script by Reitman- seriously the guy is ridiculously talented. The film is smart, funny, thoughtful and engaging. Clooney is better than ever as Ryan Bingham, a man who slowly comes to question his entire way of life. Not much to say that hasn’t been already, but in this case the hype is well deserved. "Up in the Air" is as good as advertised.

Rock Band 2. Image courtesy of Harmonix.

The folks at Autodesk have a great product. While the Autodesk suite is made up of of an astounding array of software, many of their 3-D visualization titles that have became industry standards in special effects development. Autodesk’s software is the workhorse behind movies like G.I. Joe: The Rise of Cobra and Transformers: Revenge of the Fallen as well as video games like Gears of War 2 and Rock Band 2.

Blast recently sat down with Maurice Patel, entertainment industry manager at Autodesk:

Blast: Tell us a little about Autodesk and your software products.

Patel: Autodesk software is the secret sauce behind many of the movies, games and TV ads you see today: from G.I. Joe to Evian’s skating babies. We also make design software for everything from automotive design to architecture. Our digital solutions provide powerful tools for building greener buildings, eliminating wasteful physical prototypes and helping build a better, more sustainable, human environment. Our entertainment software is used to create compelling entertainment from 3D stereo movies like ‘Monsters and Aliens’ to games like ‘Rock Band.’

Blast: What exactly is your software used for in video game production?

Patel: Our software is used in many places throughout the entertainment production chain. Products like Autodesk 3ds Max and Autodesk Maya are used for visualizing, prototyping and testing ideas; for building detailed scenes and texturing and lighting them and for creating compelling digital characters like Altair.

Autodesk also develops middleware solutions that give artificial intelligence to digital characters so that they behave more realistically in the game. If you have played games like Assassin’s Creed you’ll have seen technology in action. When Altair, runs, rides and jumps our middleware makes sure he doesn’t slip and slide but interacts realistically with objects and the environment.

Photos by CIS Hollywood. Copyright: (c) 2009 Paramount Pictures. All Rights Reserved.

Blast: What makes your software different then similar software on the market?

Patel: There are many things. Firstly we believe we have some of the best tools for making compelling, believable digital characters and imbibing them with great performances. Obviously the tool is only as great as the artists that use them, the talent that makes the game, movie or TV ad so spectacular, but we strive to provide them with great technology so that they can be truly free to experiment and try out new ideas. This is done by focusing on interaction “" making things perform fast enough to provide immediate feedback, as well as by creating sophisticated tools that enable artists to produce the highest quality work without compromise. Also the diversity of our product portfolio helps us take the best techniques from one area and apply them in another “" such as compositing images or tracking objects “" and enables us to provide customers with more efficient production workflows

Blast: What projects has your software been used on in the past?

Patel: Wow, where to begin the list is very long; Autodesk software has been used to create countless movies, commercials, TV shows and video games.

Recent movies created with Autodesk solutions include: “Ëœ9′ “ËœG.I. Joe: The Rise of the Cobra’ “ËœStar Trek’ “ËœTransformers: Revenge of the Fallen’ “ËœTerminator Salvation’ and “ËœHarry Potter and the Half-Blood Prince.’ Many of this year’s Oscar-winning and nominated films were also created with Autodesk software, such as “ËœThe Curious Case of Benjamin Button’ “ËœIron Man’ “ËœThe Dark Knight’ and “ËœKung Fu Panda.’

Popular video games created with Autodesk art creation tools and middleware solutions include: “ËœFIFA 09′ “ËœRock Band 2′ “ËœPrince of Persia’ “ËœWarhammer Online: Age of Reckoning’ “ËœAmerica’s Army’ “ËœFallout 3′ “ËœGears of War 2′ and “ËœMortal Kombat vs. DC Universe.’

Blast: Are there any upcoming projects using your software that you would like to share with our readers?

Patel: Well our customers don’t like us to steal their thunder by talking about projects before they have been released publicly, but many of the upcoming visual effects movies and games slated for the holiday season have used our software as part of their production process. We always post our latest feature stories here.

Last Wednesday, YouTube began talks with Lions Gate Entertainment Corp., Sony Pictures, and Warner Brothers concerning a movie rental service similar to iTunes and Netflix. This would mark the first time ever that the Google owned video site would charge for content. The fee would also be similar to the other video services, charging around $3.99 a rental.

YouTube is also in talks with many other partners in an effort to shore up its offerings of professional grade content, which advertisers prefer.

“We hope to expand on both our great relationship with the movie studios and the selection and types of videos we offer our community,” said YouTube spokesman Chris Dale.

Such a program would be quite a change for YouTube. We think this is due to pressure from investors who see that the cost of supplying video to users all over the world still isn’t bringing in its equivalent in advertising revenue.

YouTube became successful because it allowed people to share their own personal “LOL” with the world “" for free! Considering that there are plenty of other and more well established places to stream movies, most offering better quality or lower prices at this point, and YouTube is a late entrant into the game.

Blast had a chance to speak with Ben Bornstein, a Boston native, who has contributed to over fifty projects as a special effects makeup artist. He founded Creative Initiative Makeup & FX Studio in 2005 and has worked on films like “Acts of Violence” with Leelee Sobiesky, “The Fighter” with Christian Bale and Mark Wahlberg and television pilots for VH1 and Tru TV.

Now, Bornstein is back in Boston. He’s set up shop and working with the growing local film business.

Blast: So we see that since 2003, when you moved to LA, you’ve contributed to over 50 projects in the film and television industry. How did you get your foot in the door in this industry?

Ben Bornstein: I actually had gone to LA with two hundred dollars in my pocket and I didn’t really know anybody out there at that point … I had sent out 30 press kits to makeup fx studios. I got one call three months later. A lot of people didn’t want to hire new people because they’d have to train them. It was really hard to get a job. (Eventually) I got a job creating some fake money trees for a commercial on set at Universal Studios.

Blast: What was the most exciting project you’ve ever worked on?

BB: Tough question. To be on the makeup department for “The Fighter” was a huge difference for me. (There’s a) difference between being a shop technician and doing makeup on the set with the cast and crew. I’m most proud of doing in shop for 300.

Blast: What was your most stressful project?

BB: They usually all are. It’s a high stress business and the deadlines are seemingly impossible. But it was for a short film we shot at Paramount. 18 hour days, zero days off for six weeks straight. It was crazy!‚  A huge deadline. We had enough work for 15 crew members with only five of us.

Blast: And what is your current project?

BB: Just finished up with “The Fighter.”

Blast:‚  What advice do you have for people interested in getting into special FX or film in general?

BB: As far as makeup FX, get as many books and DVDs online and research it. I don’t personally think you need to go to school for it. If you want to take a course, get the Dick Smith Advanced Makeup Course. Study anatomy the best you can. It’s all about knowing the human form to the best of your abilities.

In film, start out as a PA. If you can get a PA job-especially in a union production you might have a good shot. … Have a great attitude, never show up late. Show up early.

Blast: And you founded Creative Initiative Make-Up & FX Studio-can you tell us a bit more about that?

BB: Basically I had done a couple of little jobs while in LA. I was there a little over five years and moved back to Massachusetts. It was basically that I felt that my skill level had gone up enough to handle the fx in film.

Blast: How do you feel about the future of the film industry in Boston with Plymouth Rock Studios being built and the whole Hollywood East movement?

BB: I have a really strong feeling about it. If I didn’t I wouldn’t have moved back to Boston. I have really high hopes for this city.

There were 13 features shot in Boston in 2008, and Plymouth Rock Studios is due to open in 2010 , with plans for another studio to also open in the South Shore within that time frame (http://www.mafilm.org).

Work had really slowed down in LA, because of the strikes. I got‚  a job a week after I decided to start packing (for Boston). I was lucky enough to get a job over there to work on tThe Surrogates”¦(but I was) working in LA when I wanted to go home, for a film that would be shot in Boston. I was there six weeks and the whole crew was great. I worked on The Final Destination and Shorts, and after that I had a couple of small jobs and then decided just to move. And I’m really glad that I did! Work has really picked up a lot here. It was difficult to be a nonunion fx guy, everything is union here. Since I moved home last August I had applied to be a union makeup artist. It took me between October and February to see if I was getting in. Once you get in the union it can really change your life. And when I was in LA, my last day there I got a phone call saying I’d gotten into the Union.

Blast: Anything else you’d like to add?

BB: I’d like to thank the local makeup artists in Boston who’ve given me a chance to prove myself and thank you and good luck!

In yet another motion that proves that media companies are completely out of touch with their customers, movie studio Warner Brothers is going to embargo DVD-by-mail outfit Netflix and DVD renting kiosk Redbox from renting new movies to customers for 28 days. This embargo is similar to the 30-day window imposed last week by Twentieth Century Fox, and the 45 day window imposed last year by Universal.

Apparently the movie studios are worried about rentals undercutting the much more profitable DVD sale business. While Mitch Lowe, CEO of Redbox, stated in an interview with the LA Times that he was convinced that Redbox has no effect on DVD sales, our bet “" backed up by nothing more than anecdotal evidence “" is that people who rent movies through Netflix and Redbox more than likely purchase more DVDs than others who don’t, in much the similar way that people who illegally download music purchase the most songs in the iTunes store and from Amazon MP3.

In any case, Redbox isn’t taking this laying down. The company is in the midst of a legal battle with Universal and filed suit against Fox last week. Should the trend continue, Warner Brothers is probably going to get served with a lawsuit of its own soon as well.

We should also mention that not every studio is as thick headed as the aforementioned; Walt Disney and Paramount haven’t really taken a stand on the issue and so are still supplying their movies. Moreover, Lions Gate and Sony have signed deals with Redbox worth hundreds of millions of dollars guaranteeing the availability of their movies on time.

One day, we hope that media companies will realize that consumers want their paid movies and music on demand and under our control. With how little the studios have trudged forward technologically at this point, it’s no surprise that streaming movie catalogues are so crippled, but we still find it unfathomable that our physical DVD rental catalogues should suffer the same fate.

Boston may be “The Hub,” but it it didn’t earn that name by being a hub of the film industry — at least not originally. The city has always been a little behind in the world of film and fame, especially when compared to New York and Los Angeles.

Future Media Concepts, a nationwide digital media training company, has been training professionals in the industry since 1994. The New York City-based company has branches in Philadelphia, Washington D.C., Orlando, Chicago and even Dubai. In 1998, the company opened it’s Boston branch. Back then, the office was as small as Boston’s film industry.

“That was when non-linear editing was coming into play and a lot of editors were hesitant to accept the new technology,” said Kathleen Langlois, a representative for FMC.

Now, more and more filmmakers and others in the digital media field are coming to Boston. Award-winning movies like “Good Will Hunting” and “The Departed,” as well as a 25 percent tax credit for the film industry, draw more attention Beantown as it becomes increasingly appealing to filmmakers.

FMC spotted the trend, and this year moved their Boston branch to a new and improved location in Kendall Square, where some of their clients include PBS, Fox, Akamai and ESPN.

“In the past year we’ve seen 12 more feature films filming in Boston and they have the production studio opening.” said Langlois. “(FMC) wanted to offer more classes and have more classroom space.”

FMC Boston reopened on July 13 and immediately went back to business. They offer upwards of 50 certification courses for programs like Media Composer, Mac OS X Leopard, Final Cut Pro, InDesign and more.

“Most of our classes are three days long, but they vary from two to five days long,” said FMC Boston Branch Manager Keri Wilson. “It’s not the traditional semester.”

And FMC doesn’t just serve the film industry. “While the film industry continues to be a source of business and FMC supports many film festivals in the area as a sponsor, the explosion in digital media is not just for the film industries but for all major corporations who utilize content creation software,” said FMC co-founder Jeff Rothberg in an email. “We continue to support both by hosting Users groups, having open houses, and running industry leading conferences.”

Classes usually have about six students and the cost runs from $575 to $2,245, Wilson said. The facility has five training rooms, but Wilson said that only about three are occupied on an average day. On a busy day, she said, there would be about 22 students — an increase since they moved.

“People have been calling to find out more about the new facility,” she said. “We allowed more people to register because we’ve got more classrooms.”

Those students include professionals already working in the industry, as well as digital media newcomers. Mostly it’s “employers sending their employees on the higher end rather than people who are independently funded,” Wilson said. However, FMC Boston also sees people who are looking for a career change and have always been interested in digital media.

And FMC doesn’t just offer classes; as a nationwide organization, they’ve been able to collaborate with the National Association of Broadcasters (NAB) for the NAB Post Production World Conference in April 2010. They will also host the NY Post Production Conference in October 2009, the Digital Media DC Conference in December 2009, and an Editors Retreat in January 2010.

Meanwhile, in Boston, FMC will continue to offer the city a leg up on it’s way to becoming a real digital media hub.

Activision/Blizzard today announced that legendary director Sam Raimi will assume the captain’s seat for the upcoming film based in the epic and violent Warcraft universe, lending his directing abilities this time towards Orcs and Trolls rather than the Green Goblin and Mary-Jane.

A deal inked with Legendary Pictures and Activision/Blizzard today confirmed the signing and Raimi had this to say:

“At its core, Warcraft is a fantastic, action-packed story, I am thrilled to work with such a dynamite production team to bring this project to the big screen.”

No mention was made concerning any of the plot, leading actors/actresses, or really anything relating to the actual film, but, if Raimi could take the already loved SpiderMan comic and turn it into a global phenomenon for non-geeks as well, just imagine what he’ll do in the Warcraft universe!

“Twilight’s” success at the box office was no mystery to us, but it was to many in Hollywood, and director Catherine Hardwicke now claims the biggest opening weekend ever for a female director, with just under $70 when the film came out last year.

The recently gave a very interesting interview with Reuters, in which she talks about the success of Twilight and what life AFTER the vampires will be like for her.

Excerpt:

Q: “Twilight” cost $37 million and made nearly $382 million worldwide. Do you feel pressure to top yourself?

A: “I don’t think that’s possible, and I don’t think that’s a healthy way to think. “Twilight” was a phenomenon — the stars just aligned on that film. Thank God (director) Ridley Scott didn’t stop after “Blade Runner.” He made “Thelma and Louise” and “Gladiator” and a million other interesting movies. I still want to make other good films that won’t lose money.”

Read the rest here.

Video games and movies are both quite enjoyable when separate.

However, like eating sandwiches and sex, the end result is rarely good when the two are combined.

With this in mind, there is no surprise that I was a bit skeptical when I heard there was going to be a new Ghostbusters game to be released for the Xbox 360.‚  Yet, upon hearing about how this game was going to have a good distributor and all of the same main actors and writers from the original movies on board with the project, my skepticism quickly turned into cautious optimism for the title.

Ghostbusters takes place in Manhattan just two years after the events in the movie Ghostbusters 2.‚  With all of the main characters present, the stage is set perfectly for players to seamlessly jump into the post-movie action.‚  When starting a new game, players take control of a recently hired Ghostbuster team member.‚  While some of the members have a hard time trusting you at first, you quickly become a major cog for the team.

After completing a quick tutorial, your rookie character jumps right into the action when a Manhattan hotel calls to complain about some paranormal activity within its walls.‚  When the team arrives, it is revealed that your old friend Slimer is wreaking havoc in the hotel.‚  Following the clues and slime piles left behind, the team is locked in an adventure that expands far beyond the presence of Slimer and the premises of the hotel.

The main Ghostbusting function within the gameplay is utilizing the “Sap ‘em, Cap ‘em, Trap ‘em” technique.‚  Resembling the actions from the movies, your character must drain a targeted ghost’s energy (AKA sapping), prevent the ghost from running away (AKA capping) and put the ghost in one of the high-tech, Pokeball-like trapping devices (AKA”¦ well, you get the idea).

Sapping involves some eye-hand coordination, as this part of the technique requires some quick and accurate shooting.‚  Upon finding a powerful ghost (some small ghosts can be eliminated without the use of the entire three step technique) players must follow their ghastly enemy manually with their sapping ray by pressing the RT button.‚  Once you have sapped enough energy out of the ghost (as indicated by a small meter located on or near your target), it is time to trap it.‚  If your proton pack hasn’t done so automatically, press the left bumper to activate your capture stream.‚  When this ray is being used, players will be able to crash the ghost into the ground and walls in order to further weaken and eventually daze the enemy.‚  Once that is accomplished, players should throw out a trap and slowly drag the phantasm into it.

The control scheme is pretty much as difficult as it sounds.‚  Even with the very helpful tutorial portion of the campaign, it seems like most of the controls are not quite as intuitive as many gamers would like (tracking ghosts and even sprinting seems like a bit of a chore). ‚ With this in mind, it is no surprise that combat can be a little longwinded and repetitive. ‚ Expect to be methodically learning and relearning the different processes, especially the Sap “Ëœem, Cap “Ëœem and Trap “Ëœem technique, for a slightly longer period than most games.‚  If you are having much more trouble than you would like, consider customizing your control scheme through the in-game settings menu to accommodate your style of play.

What is really cool about this game, especially to fans of the films, is that the game stays true to its roots.‚  From the actors to the original music from the motion pictures, Ghostbusters really impresses with its attention to detail and continuity.‚  With the game being written by the original writers, comedy legends Dan Aykroyd and Harold Ramis, it is no surprise that the dialogue in Ghostbusters is full of wit and sarcasm.

The voice acting is not without its flaws, however.‚  Though Ghostbusters’ cast has returned in full force, there seemed to be some volume issues with the in-game dialogue.‚  While the sound effects would come through crystal clear, I would have a hard time hearing some of the characters’ voices, especially Billy Murray’s character, Dr. Peter Venkman, whether it was due to overpowering background music or action.‚  This is especially unfortunate because it really leaves the player out of the loop when it comes to hearing the surely priceless comedic value hidden within the inter-character conversations.‚  This problem could surely be solved within the in-game the audio settings, but it would have been nice if the default settings worked a little more effectively.

The attention to detail in Ghostbusters doesn’t end at the writing; the game is filled with little visual features that will make even the most critical gamer pleasantly surprised.‚  The first thing that stands out is the highly functional proton pack located on the back of all of the Ghostbusters.‚  These proton packs are probably as intricately designed as any piece of equipment I’ve seen in recent games.‚  They are covered in bright, flashing lights with dark, well-textured crevasses and curves.‚  When cooling down the proton pack after a good Sap “Ëœem, Cap “Ëœem and Trap “Ëœem session, flurries of steam are emitted beautifully from the lower part of the pack as the energy rods are extended out of the pack and exposed to the air.

Beyond its visual beauty, the detail in the proton pack also comes in handy because it serves as a replacement to a traditional HUD.‚  So, even though the lights make the pack look pretty, they also have a real purpose to them as well.‚  Complete with health and energy meters, players will have no trouble appreciating all of the intricate and useful doodads and wiz bangs attached to the always-trusty proton pack.

The impressive visuals continue throughout the level designs.‚  Each level’s environment is colorful and full of outstanding shading.‚  A player’s surroundings are almost completely interactive, making even the simple act of walking through the game a pleasing experience.‚  Furthermore, a player can use their capture stream to change the environment around them.‚  A piece of furniture in the way?‚  Use your stream to pick up the annoying chair or table and toss it to the side.‚  Players will also quickly notice that the capture and sapping streams will tear holes in walls and even destroy some items, leading to some good clean fun involving scribing words and messages on ceilings.

Another fun feature in the game involves the customizing and upgrading of your equipment.‚  By capturing ghosts and finding hidden treasures, your character will acquire money throughout the game.‚  This expendable cash can be used to buy more powerful gear for a stronger, more effective ghost wrangling experience.‚  Weapon improvements are always loads of fun, however it seemed like one could max out the upgrades without having to beat the entire game.‚  Perhaps a character leveling system could have been utilized to fix this problem.

Blast Factor: Ghostbusters is not a flawless game.‚  However, it is far from a worthless game, as well.‚  Ghostbusters is one of those rare games where all of the main aspects of the game are solid but, for the most part, are somewhat removed from spectacular.‚  While that may not be great news for most games, it is really the best-case scenario for a movie-based game such as this.‚  Ghostbusters stays true to its roots and is visually impressive, making it at least a solid rental for the casual gamer and close to a “must have” for the serious Ghostbuster fan.

So, if you are looking for a movie-based video game that actually worth playing, who you gonna call?‚  Ghostbusters.

Ghostbusters: The Video Game is available for Xbox 360 and Playstation 3 for $59.99

If you can’t beat “Ëœem, join “Ëœem! So goes the mantra of the group BellKor’s Pragmatic Chaos, an international coalition of four previous teams, whose combined efforts to develop a new movie suggesting algorithm for Netflix have finally scored high enough to claim the prize.

Netflix uses a movie rating algorithm called Cinematch to predict what users will rate movies, based on their previous rental and rating history. This tool is crucial to the Netflix experience, which keeps users happy by suggesting new movies for them to rent and enjoy. Users then continue renting movies, and Netflix continues making money “" it’s win-win.

The Netflix Prize is very similar to the X-Prize, which offered‚ $10 million for the first private group to build and launch an aircraft that could leave the atmosphere, or the Archon X-Prize, which offers the same amount to the first group who can sequence an entire human genome for under $1,000.

Netflix started the Netflix Prize program in November 2006, offering a cash prize to anyone who could better their Cinematch by 10%. Hundreds of groups have signed on, and have posted their scores on the page for the Netflix Prize. While many of the groups have been flirting with the 10% goal, until now none have scored sufficiently high enough. In interviews, some group members have expressed that the task might prove impossible.

Sensing this, PragmaticTheory and BellKor in BigChaos combined their efforts, and have posted a combined algoithm which represents a 10.05% improvement, which, pending verification, should prove sufficient enough to clinch the prize. When and if Netflix will incorporate the group’s method ‚ into (or instead of) Cinematch is still up in the air. Still, this is an exciting time for movie lovers everywhere.

Updated 4:06PM: Corrected prize money amount. Thanks Shawn!

Consumers have more choices than ever for watching movies these days. Once they’ve left the theater, you can stream them on-demand from cable providers, grab a flick from Hulu, or stream them from Netflix’s Instant Watching. And yet, we’re about to get another choice: Epix.

As opposed to all the choices offered now, you can only watch older free movies from the limited catalogs, or you’ll have to pay to watch newer ones on demand. Epix will offer movies during this pay-for window, but you won’t have to pay for them directly. Instead, the joint venture of Lionsgate, Paramount, and MGM Studios will package their content, and sell it to cable providers who in turn will add a channel to the standard line up. As an added bonus, the content will also be available online for streaming in all of it its 720p HD glory.

Warning viewers receive if their cable provider does not offer access to ESPN 360.

If Epix gets their way, you won’t pay any fees to take advantage of this, and you won’t have to watch any advertising either. These costs for the operation will be recuperated by requiring users to subscribe to both the cable providers’ TV and Internet services. This is similar to the deal that ESPN has inked with some providers to allow streaming of live sports events via ESPN 360. It works like this: if your cable provider pays for access, you can watch all you want. If they don’t, there’s essentially nothing you can do, other than beg and plead with your cable provider to purchase it. Deals like this never sell content directly to the end user.

Epix has yet to announce its cable partners, so one has to wonder if they have any or will even be able to get them. It would be sad for this venture not to get off the ground, because it’s certainly promising. Epix is currently in a private only beta, though you can follow them on Twitter to try and gain access.

With a little more than 24 hours left until the big ceremony, I decided to throw in my own picks for who should and will win of the six big Oscar categories.

Best Picture:

Will Win: “Slumdog Millionaire”
Should Win: “Milk”
“Slumdog Millionaire” is an excellent film and the Oscar favorite, but “Milk” was a solid little film and one of the most hopeful and timely films to be released in 2008.
“Milk” doesn’t deserve to be overshadowed in the “Best Picture” race by “Slumdog,” no matter how good a film the latter may be.

Best Director:

Will Win: Danny Boyle, “Slumdog Millionaire”
Should Win: Danny Boyle, “Slumdog Millionaire”
I’m 100 percent behind “Milk” for the Oscar’s this year — and just as peeved at how badly the Academy will snub it — but Danny Boyle did the best job of any directors this year with “Slumdog.”

Best Actor:

Will Win: Mickey Rourke, “The Wrestler”
Should Win: Sean Penn, “Milk”
Rourke was the unexpected star with his role in “The Wrestler” and, like the down-on-his-luck character he played, he deserves the award to truly mark how he turned around his career. If Sean Penn hadn’t won “Best Actor” for “Mystic River” in 2003, though, this could be a completely different picture. It’s not until the final scene of “Milk” where video of the real Harvey Milk was shown that you realize how perfectly Penn captured the man who revolutionized our political system.

Best Actress:

Will Win: Kate Winslet, “The Reader”
Should Win: Anne Hathaway, “Rachel Getting Married”
It is partly because the Academy forgot that Winslet was performing a supporting role in “The Reader” that makes me say the win should go to Hathaway (the Golden Globes did not make this same mistake). Winslet deserves her long-withheld Oscar — and between “Revolutionary Road” and “The Reader,” 2008 should have been her year — but Hathaway gave a powerful and unexpected performance that deserves more credit than it’s been given.

Best Supporting Actor:

Will Win: Heath Ledger, “The Dark Knight”
Should Win: Heath Ledger, “The Dark Knight”
With or without the tragedy of his death, Ledger’s performance in “The Dark Knight” is the best performance we had the pleasure of seeing from any of the films released in 2008. There will be no question that he won the Oscar for his performance and not out of sympathy.

Best Supporting Actress:

Will Win: Viola Davis, “Doubt”
Should Win: Viola Davis, “Doubt”
Unlike when the Academy awarded Judy Dench the Best Supporting Actress Oscar for her 15 minutes in “Shakespeare In Love” to make up for their snub the year before, Viola Davis’ brief two scenes in “Doubt” are powerful enough to make her undoubtedly deserve this win.

Here, for what it’s worth, are my 2009 Oscar predictions in the six major categories:

Best Picture:

Will Win: “Slumdog Millionaire”
Should Win: “Frost/Nixon”
Common consensus is that Sunday night will belong to the Little Movie That Could from India, but for my nerdy journalistic sensibilities, the best movie of the year was Ron Howard’s engaging adaptation of “Frost/Nixon.”

Best Director:

Will Win: Danny Boyle, “Slumdog Millionaire”
Should Win: Danny Boyle, “Slumdog Millionaire”
The British director’s crafting of this Indian fairytale into the feel-good movie of the year makes him the favorite, and deservedly so.

Best Actor:

Will Win: Mickey Rourke, “The Wrestler”
Should Win: Frank Langella, “Frost/Nixon”
The Academy loves a comeback, and Mickey Rourke certainly seems to have reinvented himself with his utterly sacrificial turn in “The Wrestler.” Keep an eye on Sean Penn though, who might emerge as a dark horse victor for voters who might use their ballot to make a political statement in light of Proposition 8′s passing in November.

Best Actress:

Will Win: Kate Winslet, “The Reader”
Should Win: Kate Winslet, “The Reader”
Backlash against “The Reader” and, in turn, Winslet’s performance has been building ever since it surged ahead of (presumably) “The Dark Knight” and “Wall-E” to nab a Best Picture nomination. Behind “Frost/Nixon” it was my second favorite movie of the year. Between this and her un-nominated performance in “Revolutionary Road” Winslet cemented herself as the best actress working today.

Best Supporting Actor:

Will Win: Heath Ledger, “The Dark Knight”
Should Win: Heath Ledger, “The Dark Knight”
Even setting aside the tragedy of his untimely death as a factor in this race, Ledger’s performance is undeniably the standout of the bunch. It’s inconceivable that the Academy would give the award to anyone else. Our condolences, Michael Shannon!

Best Supporting Actress:

Will Win: Viola Davis, “Doubt”
Should Win: ????
Penelope Cruz seems to be the favorite here for her turn in “Vicky Cristina Barcelona” which I can’t comment on, not having seen the film. But the Academy always reserves it’s WTF vote for one of the supporting categories (see: Alan Arkin, Tilda Swinton), and since Heath Ledger is the closest thing this year to a lock, you can bet this race will end up being a crap shoot. My reasoning is that if voters thought enough of Davis’s 15 minutes of screentime to reward her with a nomination, there’s no reason she can’t take home the prize.

No matter how tough you are or how much you can bench, every guy has his tipping point.

Just as long as it’s not a scene from “The Notebook” or “Atonement.”

Here are the top 10 saddest moments in guy movie history.

10. Wyatt Earp is my friend. “Tombstone,” 1993

Perhaps Val Kilmer’s best role, his portrayal of Doc Holliday in the 1993 George P. Cosmatos film “Tombstone” has its own place in guy movie history, and no scene continues to pull more heart strings than “Wyatt Earp is my friend.” It sums up the bonds between friends and brothers, even in the face of adversity and long odds.

Turkey Creek Jack Johnson: Why you doin’ this, Doc?
Doc Holliday: Because Wyatt Earp is my friend.
Turkey Creek Jack Johnson:Hell, I got lots of friends.
Doc Holliday: …I don’t.

Maybe not the saddest moment, but if you shed a tear, it’s excused.

Val Kilmer starts us off, but another of his characters will cause one of the other moments on our list later on.

9. “The Outsiders” 1983

Christ. The whole freakin movie.

Francis Ford Coppola’s adaptation of the S.E. Hinton book that we’ve all read at some point goes down with “The Warriors” about the two best movies about white kids in gangs. (By the way, did you know that Diane Lane was in this movie? She still looks good…)

We’ll settle on the tearjerker scene when Johnny Cade dies.

So, this is what you get for helping people?

You punk!

Please!

Bastards!

8. The ending. “Butch Cassidy and the Sundance Kid” 1969.

No embedding…sorry

Damn Bolivans. Butch and Sundance and the Hole-in-the-Wall gang taught us to root for the bad guys sometimes.

RIP Paul Newman.

7. “Don’t ever stop!” — Rocco dies. “Boondock Saints” 1999

Our shout out to Boston: The improbable of improbables, “Boondock Saints” was not a box office bomb, it was a nuclear explosion. But it’s one of the most popular action movies in New England.

Rocco, who taught us the true meaning of the f-word, dies toward the end of the movie, and it was sad to see the comic relief and general best friend die. But then again, every Italian in that movie died.

6. Remember us. “300″ 2006

Dilios: “Remember us.” As simple an order as a king can give. “Remember why we died.” For he did not wish tribute, nor song, nor monuments nor poems of war and valor. His wish was simple. “Remember us,” he said to me. That was his hope, should any free soul come across that place, in all the countless centuries yet to be. May all our voices whisper to you from the ageless stones, “Go tell the Spartans, passerby, that here by Spartan law, we lie.”

5. William Wallace yells “freedom.” Braveheart 1995.

“Braveheart” is known for some of the best Middle Ages battle scenes in cinema history. The girlfriends watch it with us because of a cunning and deep love story, the loss of one woman and the arrival of another.

And this early quote draws emotion as well:

Young William: What are they doin’?
Argyle Wallace: Saying goodbye in their own way. Playing outlawed tunes on outlawed pipes.

4. Go to them. “Gladiator” 2000

A true warrior’s death. “Gladiator” was the first great film of the 21st century, and it had an ending worthy of a tear or two, even from a dude.

3. “Earn this.” “Saving Private Ryan” 1998

Tom Hanks has no small plaque on the guy movie hall of fame, but this tops the list with his moving character, Captain John H. Miller. When he dies, it’s … it’s just FUBAR man.

2. Mickey dies. “Rocky III” 1982

He trained, motivated and believed in Rocky Balboa. The loss of the trainer and mentor nearly destroys Rocky, and if you cried when Mickey said “I love ya kid” you’re certainly not alone.

1. Goose dies. “Top Gun” 1986

GOOSE!

So many guys have seen “Top Gun”, and many of us have seen it dozens and dozens of times and no matter how much poker is being played or beer is being consumed or laughs are being had, the room goes quiet when Goose dies.

“Top Gun” has a little bit of everything in the guy movie realm — best friends, competition, explosions, jet planes, a father complex, a hard-to-get girl, beach volleyball, and beer.

And it has led to a generation of women that find themselves serenaded to “You’ve Lost That Lovin’ Feelin’” by the Righteous Brothers.

However, for these few minutes, we pause. There’s nothing funny going on.

Blast staff writer Daniel Peleschuk and several of John’s buds contributed to this report

It was all “Tropic Thunder” for a second straight week as the riveting action comedy bested the sexy playboy flick, “House Bunny” by $1 million.

“Thunder” raked in $16.1 million last week, while “The Dark Knight” finally showed signs of ending its historic run, comng in fourth with $10.3 million.

The Fred Durst-directed “The Longshots” started its theater run in eighth with $4.3 million.

Here are the top 10 films of the week in North American box offices for the week beginning August 22.

1. Tropic Thunder: $16.1 million

2. (new) House Bunny: $15.1 million

3. (new) Death Race: $12.3 million

4. (-2) The Dark Knight: $10.3 million

5. (-2) Star Wars: The Clone Wars: $5.7 million

6. (-1) Pineapple Express: $5.6 million

7. (-3) Mirrors: $4.9 million

8. (new) The Longshots: $4.3 million

9. (-2) Mamma Mia!: $4.3 million

10. (-4) The Mummy: Tomb of the Dragon Emperor $4.1 million

Domestic totals:

The Dark Knight: $489.2 million

Mamma Mia!: $124.5 million

The Mummy: Tomb of the Dragon Emperor: $93.8 million

Pineapple Express: $73.9 million

Tropic Thunder: $65.7 million

Star Wars: The Clone Wars: $25.0 million

Mirrors: $20.1 million

“Tropic Thunder” bested “The Dark Knight” for the first time since the latest Batman movie’s release, but “Knight’s” $16.8 million was enough to pass “Star Wars” as the second highest grossing film of all time in the U.S.

We thought “Star Wars: The Clone Wars” was disappointing at third place, but we’re not surprised because we hated the movie. We hated it.

Here are the top 10 films of the weekend in North American box offices for the week beginning August 15.

1. Tropic Thunder: $26.0 million

2. The Dark Knight: $16.8 million

3. Star Wars: The Clone Wars: $15.5 million

4. Mirrors: $11.1 million

5. Pineapple Express $10.0 million

6. The Mummy: Tomb of the Dragon Emperor: $8.6 million

7. Mamma Mia!: $6.5 million

8. The Sisterhood of the Traveling Pants 2: $5.9 million

9. Step Brothers: $5.0 million

10. Vicky Cristina Barcelona: $3.7 million

Domestic totals:

The Dark Knight: $471.5 million

Hancock: $225.1 million

WALL-E: $214.1 million

Mamma Mia!: $116.4 million

Step Brothers: $90.9 million

Journey to the Center of the Earth: $88.1 million

The Mummy: Tomb of the Dragon Emperor: $86.7 million

Hellboy 2: The Golden Army: $74.6 million

Pineapple Express: $62.9 million

Tropic Thunder: $37.0 million

February 24th is here. This year, the Academy Awards are celebrating their 80th season of turning a blind eye to the deserving films and, well, awarding the lame-os. And although he’s still considered the barometer for film quality standards, Oscar will surely be back this year with his latest disappointments, when he’ll send those “should-have-beens” to the world of movie mediocrity. So, without further adieu, I present to you my picks – I mean, the rightful winners – as opposed to those of Oscar’s. A hint? Expect “Atonement” to take home Best Picture. Eugh.

OSCAR’S PICKS

Best Picture:

“Atonement”

It’s the kind of sappy, over-the-top, made-for-the-Oscars film that you’d expect from the likes of Clint Eastwood. Plus, I can’t stand that stupid, hyper-emotional shot of Keira Knightley with her arms stretched out in the fog. Dear writers: Don’t bank your film on a pretty girl looking sad. Lame.

Leading Actor:

Daniel Day Lewis, “There Will Be Blood”

Exception. I think even the Academy has enough sense to recognize groundbreaking acting when they see it. The man’s brilliant, but somehow, he’s only got one Oscar under his belt. Now, it’s finally time for another.

Leading Actress

Julie Christie, “Away From Her”

A formerly attractive, married old woman (Julie Christie) comes down with Alzheimer’s, gets committed and somewhere between fraught old folk-emotions, falls in love with another man in the nursing home. Smells like Oscars. And maybe more old folks. Plus, the buzz in Hollywood circles has been traveling almost exclusively around her.

Best Directing

The Coen Bros, “No Country For Old Men”

Joel and Ethan Coen seem to have finally gotten the recognition they’ve deserved for more than 20 years. Their latest film has garnered four nominations this year, more than any of their previous contemporary cult classic films at one time. Once again, there’s been tremendous buzz about this one, and once again, it’s about time, anyway.

Best Cinematography

“No Country For Old Men”

Even ol’ Oscar can’t resist the sweeping shots of the barren, yet somehow beautiful rural Texas landscape the Coen Brothers captured. It’s nothing particularly stunning, but it seems cool enough – without being too sophisticated – for the Academy to stomach.

MY PICKS

Best Picture

“There Will Be Blood”

Simply put, it’s the most ambitious, frightening, deliciously creepy and visually satisfying film in recent memory. Other critics say it’s the “next Great American movie.” I say “good call.”

Leading Actor

Daniel Day Lewis, “There Will Be Blood”

The man is a genius. Somehow, Lewis is able to transcend his own humanity and fully enter into the role of a maniacal oilman. His stare is deathly eerie, and his delivery is superb. I first witnessed his performance about three weeks ago, and haven’t been able to sleep since then.

Leading Actress:

Laura Linney, “The Savages”

Laura Linney is one of those rarely acknowledged indie gems that sparkles with every performance. Her character is likable and accessible, and she’s the only one who could’ve pulled it off. Plus, she hasn’t won an Oscar yet – seriously – and I know that the Academy is into concessions (a la Scorsese), so why not?
Best Directing

Paul Thomas Anderson, “There Will Be Blood”

PTA is one of the up-and-coming young-ish directors who’s on his way to making movie history. So let’s start here – with his epic masterpiece – in which he flawlessly directs the larger-than-life D. D. Lewis, and photographs the lonely, haunting California landscape with enough macabre to make even Edgar Allen Poe lose his lunch.

Best Cinematography

“The Diving Bell and the Butterfly”

This picture is one of the most magnificently shot films I’ve ever seen. The soft colors and interesting focus-play just makes me feel good. And imagine that in a film that’s about a guy who loses nearly all control over his body, forcing him to live with “locked-in syndrome” for years before he dies. Dreamlike, subtle, yet atmospheric, it captures the delicate beauty of the here-today-gone-tomorrow essence of life.

Yet another award season is upon us and the first in the list is the Golden Globe Awards. The award show airs on NBC at 8 p.m., January 13. Usually seen as a prelude to the winners of the Oscars these year’s nominees will make an interesting competition as many are deserving of recognition.

Motion Pictures
Drama – American Gangster, Atonement, Eastern Promises, The Great Debaters, Michael Clayton, No Country For Old Men, There Will Be Blood

Musical or Comedy- Across The Universe, Charlie Wilson’s War, Hairspray, Juno, Sweeney Todd

Animated Film- Bee Movie, Ratatouille, The Simpsons Movie,

Actor in a Leading Role, Drama- George Clooney in Michael Clayton, Daniel Day-Lewis n There Will Be Blood, ames McAvoy in Atonement, Viggo Mortensen in Eastern Promises, Denzel Washington in American Gangster

Actor in a Leading Role, Musical or Comedy- Johnny Depp in Sweeney Todd, Ryan Gosling in Lars and the Real Girl, Tom Hanks in Charlie Wilson’s War, Philip Seymour Hoffman in The Savages, John C. Reilly in Walk Hard: The Dewey Cox Story

Actress in a Leading Role, Drama- Cate Blanchett in Elizabeth: The Golden Age, Julie Christie in Away From Her, Jodie Foster in The Brave One, Angelina Jolie in A Mighty Heart, Keira Knightley in Atonement

Actress in a Leading Role, Musical or Comedy- Amy Adams in Enchanted, Nikki Blonsky in Hairspray, Helena Bonham Carter in Sweeney Todd, arion Cotillard in La Vie en Rose, Ellen Page in Juno

Actor in a Supporting Role- Casey Affleck in The Assassination of Jesse James, avier Bardem in No Country For Old Men, Philip Seymour Hoffman in Charlie Wilson’s War, John Travolta in Hairspray, Tom Wilkinson in Michael Clayton

Actress in a Supporting Role- Cate Blanchett in I’m Not There, Julia Roberts in Charlie Wilson’s War, Saoirse Ronan in Atonement, Amy Ryan in Gone Baby Gone, Tilda Swinton in Michael Clayton

Director- Tim Burton for Sweeney Todd, Ethan Coen, Joel Coen for No Country For Old Men, Julian Schnabel for The Diving Bell And The Butterfly, Ridley Scott for American Gangster, Joe Wright for Atonement

Screenplay- Atonement, Charlie Wilson’s War, The Diving Bell And The Butterfly, Juno, No Country For Old Men

Original Score- Atonement, Eastern Promises, Grace Is Gone, Into The Wild, The Kite Runner

Original Song- “Despedida” from Love In The Time Of Cholera, “Grace Is Gone” from Grace Is Gone, “Guaranteed” from Into The Wild, “That’s How You Know” from Enchanted, “Walk Hard” from Walk Hard: The Dewey Cox Story

Foreign Film- The Diving Bell And The Butterfly from France, The United States Of America 4 Months, 3 Weeks And 2 Days from Romania, The Kite Runner from The United States, Lust, Caution from Taiwan, Persepolis from France

Television Series
Drama- Big Love, Damages, Grey’s Anatomy, House, M. D., Mad Men, The Tudors

Musical Or Comedy- Californication, Entourage, Extras, Pushing Daisies, 30 Rock

Mini-Series or Television Movie- Bury My Heart At Wounded Knee, The Company, Five Days, Longford, The State Within

Actor In A Leading Role, Drama Series- Michael C. Hall in Dexter, Hugh Laurie in House, M. D., Bill Paxton in Big Love, Jon Hamm in Mad Men, Jonathan Rhys-Meyers in The Tudors

Actor In A Leading Role, Musical or Comedy Series- Alec Baldwin in 30 Rock, Steve Carell in The Office, David Duchovny in Californication, Ricky Gervais in Extras, Lee Pace in Pushing Daisies

Actor In A Leading Role, Mini-Series or Television Movie- Adam Beach in Bury My Heart At Wounded Knee, Jim Broadbent in Longford, Ernest Borgnine in A Grandpa For Christmas, Jason Isaacs in The State Within, James Nesbitt in Jekyll

Actress In A Leading Role, Drama Series- Patricia Arquette in Medium, Glenn Close in Damages, Minnie Driver in The Riches, Edie Falco in The Sopranos, Sally Field in Brothers & Sisters, Holly Hunter in Saving Grace, Kyra Sedgwick in The Closer

Actress In A Leading Role, Musical or Comedy Series- Christina Applegate in Samantha Who?, America Ferrera in Ugly Betty, Tina Fey in 30 Rock, Anna Friel in Pushing Daisies, Mary-Louise Parker in Weeds

Actress In A Leading Role, Mini-Series or Television Movie- Bryce Dallas Howard in As You Like It, Queen Latifah in Life Support, Debra Messing in The Starter Wife, Sissy Spacek in Pictures Of Hollis Woods, Ruth Wilson in Jane Eyre

Actor In A Supporting Role, Series, Mini-Series or Television Movie- Ted Danson in Damages, Kevin Dillon in Entourage
Jeremy Piven in Entourage, Andy Serkis in Longford, William Shatner in Boston Legal, Donald Sutherland in Dirty Sexy Money

Actress In A Supporting Role, Series, Mini-Series or Television Movie- Rose Byrne in Damages, Rachel Griffiths in Brothers & Sisters, Katherine Heigl in Grey’s Anatomy, Samantha Morton in Longford, Anna Paquin in Bury My Heart At Wounded Knee, Jaime Pressly in My Name Is Earl