Elliot Spitzer in Inside JobINSIDE JOB

You might not think that director Charles Ferguson's Inside Job, the newly (and deservedly) Oscar-nominated documentary about 2008's global economic meltdown, would offer much in the way of participatory, audience-goosing entertainment. After all, this isn't exactly a Michael Moore doc we're dealing with here. Employing dozens of lucid, well-reasoned interviews with financial experts and reams of statistics and graphs, Ferguson's strong, angry, yet level-headed explanation of our current financial crisis is the polar opposite, in temperament and tone, of a Fahrenheit 9/11 or Capitalism: A Love Story. But while the experience of the impeccably photographed, sharply edited Inside Job is a mostly dead-serious one, damn but my audience appeared to have a good time at it - or, perhaps it's more appropriate to say, a cathartic time.

The King's SpeechIf you were wondering what that anguished roar was at approximately 7:40 a.m., it was probably the sound of thousands upon thousands of Christopher Nolan fans simultaneously wailing, "Not again!!!"

[Author's note: In the 11 days since this article was first published, a number of generally reliable pre-Oscar-nomination indicators have seen the light, including the nominees for several guild awards and the British Academy of Film & Television Awards (BAFTA), and the overall mood of the rooms during the Critics Choice Awards and Golden Globes ceremonies. Consequently, with less than 40 hours to go before the Academy Awards nominations are announced, I've changed my official predictions in a number of categories. Let's see if I turn out to be smarter or stupider in the wake of my last-minute changes! My new picks, along with some commentary, will follow the originally published predictions.]

 

No novelty with a newly expanded field of 10 nominees for the big prize. No ex-spouses dueling for the Best Director trophy. No nutty, left-field Best Picture contenders along the lines of Star Trek and Fantastic Mr. Fox and The Hangover. Where's the fun in reading predictions about this year's field of Oscar nominees?

Why, in the possibility of Mike falling flat on his precognostic face, that's where!

Natalie Portman and Ashton Kutcher in No Strings AttachedNO STRINGS ATTACHED

Against all expectations, at least my expectations, director Ivan Reitman's No Strings Attached is a perfectly enjoyable piece of midwinter fluff, engaging and breezy and of no consequence whatsoever. Yet I'll admit to being somewhat shocked when, two days after seeing it, I replayed the notes I quietly recorded during my screening, and discovered that I didn't whisper even one criticism or complaint in the whole of its 105 minutes, which is a claim I can't even make about The Social Network.

Then again, the movie is a formulaic romantic comedy starring Ashton Kutcher, so I suppose the complaints do take care of themselves.

Winona Ryder, Jennifer Connelly, Vince Vaughn, and Kevin James in The DilemmaTHE DILEMMA

Leaving a screening of The Dilemma, a friend sitting several rows away caught up with me, and asked if the film we just saw would likely make my list of the year's worst movies. I can't tell you how much I'm hoping it will, because if not, 2011 is going to be positively excruciating.

Nicolas Cage in Season of the WitchSEASON OF THE WITCH

For one of my New Year's resolutions, I thought I'd attempt a pretty tough one: To not accidentally (or intentionally) doze off during any 2011 movies. Mind you, this isn't something I do at a lot of screenings - a Skyline here, a Speed Racer there. But falling asleep at the cineplex is, for me, rather like snoozing while in your office cubicle; it seems the least I can do during a stretch of daytime work is stay conscious. And as a test for my new resolve, what trickier challenge could I have asked for than the very first 2011 feature out of the gate: Season of the Witch?

Justin Timberlake and Jesse Eisenberg in The Social NetworkBefore commencing with the annual fawning, I thought I'd begin by exercising one of my God-given rights as a reviewer: the right to bitch about the sorry state of movies. I think it's supposed to go something like this:

Boy, are the movies in a sorry state!

Will Ferrell and Mark Wahlberg in The Other GuysRunners-Up to the 10 Favorites: Exit Through the Gift Shop, Fair Game, Get Him to the Greek, The Ghost Writer, I Am Love, Inception, The Other Guys, Restrepo, Scott Pilgrim Vs. the World, Waiting for "Superman."

Runners-Up to Those Runners-Up: Babies, Brooklyn's Finest, Despicable Me, Going the Distance, Hot Tub Time Machine, The Karate Kid, The King's Speech, Megamind, Please Give, The Town.

And Since it Was Such a Good Year ... : Cyrus, Easy A, For Colored Girls, Iron Man 2, It's Kind of a Funny Story, Ramona & Beezus, Salt, Tangled, Unstoppable, Youth in Revolt.

Colin Firth and Geoffrey Rush in The King's SpeechTHE KING'S SPEECH

A tony odd-couple comedy in the guise of a historical prestige pic, The King's Speech boasts a pair of exceptional performances by Colin Firth and Geoffrey Rush, and is a terrific amount of fun. But am I alone in thinking that its central storyline is the least interesting thing about it?

Jeff Bridges and Hailee Steinfeld in True GritTRUE GRIT

Over the course of their careers, the films of Joel and Ethan Coen have, of course, inspired a wide variety of responses: amusement (and quite a lot of it), excitement, fascination, terror, confusion, astonishment, mortification. (Oh, the depressing spectacle of Intolerable Cruelty ... .) But while we audiences have laughed and gasped and occasionally scratched our heads, we haven't, prior to the Coen brothers' True Grit, been moved to tears by scenes of unbridled yet honestly earned sentiment. Guess we can now scratch that one off the list, too.

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