Chiwetel Ejiofor in 12 Years a SlaveHeading toward January 16's announcement of this year's Academy Award nominees, I think it's safe to say that we know a few things.

We know, for instance, that it'll be a big day for 12 Years a Slave and Gravity, and most likely for American Hustle. We know the Best Supporting Actor category (which, last year, was populated entirely with previous Oscar winners) will be top-heavy with relatively new talent, and the Best Actress category (which, last year, was top-heavy with relatively new talent) will be mostly, perhaps entirely, populated with previous Oscar winners. We know members of the Academy's music branch will throw some loopy, out-of-left-field choice into the Best Original Song lineup, because they always do.

And we know, come January 16, that some incredibly worthy titles are going to get royally screwed.

I can't remember which Web site I read it on, but in prefacing his 10-best list, one movie-reviewing pundit expressed his wish that rankings of this sort be published 10 years after the fact, so he could have a full decade to digest, re-re-view, and potentially re-evaluate what he initially decreed were his favorite films for a particular calendar year. I love that idea, but would also be grateful for a just few extra weeks.

PARANORMAL ACTIVITY: THE MARKED ONES

Do you recall how, in the first Paranormal Activity, Katie and Micah attempted to communicate with the malevolent spirit haunting their home through a Ouija board that, later, spontaneously burst into flames? So-o-o 2009. In the new Paranormal Activity: The Marked Ones - the fifth installment in this apparently unkillable scare-flick series - our teenage protagonists aren't about to use anything as passé as a board game to connect with their unseen house guest. Not when they have access to ... Simon.

Leonardo DiCaprio in The Wolf of Wall StreetTHE WOLF OF WALL STREET

The Wolf of Wall Street is Martin Scorsese's three-hour black comedy about the grotesquely indulgent life of felonious stock trader Jordan Belfort, and Leonardo DiCaprio gives a ferociously alert performance as the title character, even when, in a scene of perfectly executed physical slapstick, a Quaalude high gone wrong leaves him nearly, and hilariously, immobile. The movie is filled with memorable set pieces and blisteringly profane dialogue, and several supporting actors - Kyle Chandler and Matthew McConaughey especially - are in utterly spectacular form. There's filmmaking energy, even bravado, on display in just about every scene. And after dozens of releases in a career spanning more than four decades, it's the first Scorsese picture that I've ever actively hated.

Ben Stiller in The Secret Life of Walter MittyTHE SECRET LIFE OF WALTER MITTY, MANDELA: LONG WALK TO FREEDOM, and GRUDGE MATCH

With apologies to Keanu Reeves fans and the true Beliebers among you, I still haven't gotten around to 47 Ronin or Justin Bieber's Believe. (In the case of the latter, I'm not sure I ever will, although stranger things have happened, I guess ... .) But among the numerous titles that opened opposite The Wolf of Wall Street on Christmas Day, I did manage to catch a few of 'em ... .

Amy Adams, Bradley Cooper, Jeremy Renner, Christian Bale, and Jenifer Lawrence in American HustleAMERICAN HUSTLE

You wanna have a good time this winter? Grab some friends, see American Hustle, hit the coffee shop or bar of your choosing, and enjoy a spirited debate over which performer in director David O. Russell's con-man (and -woman) comedy gives the best, funniest performance. Better yet, enjoy a spirited debate over which performer has the best, funniest hair. Either way, there are no wrong answers.

Emma Thompson and Tom Hanks in Saving Mr. BanksSAVING MR. BANKS

Saving Mr. Banks concerns the efforts of the crinkly-eyed Walt Disney (Tom Hanks) in getting the persnickety, Hollywood-averse British author P.L. Travers (Emma Thompson) to sign over the book rights to Mary Poppins. (Spoiler Alert: He does.) And as it's a Disney movie about a Disney movie with Disney products and Disney people - including Uncle Walt himself - popping up nearly every time you blink, the cynic in me resisted director John Lee Hancock's dramatic comedy for as long as humanly possible. Then Thompson's seemingly impenetrable Travers broke down while watching the Banks family sing "Let's Go Fly a Kite" at Mary Poppins' first public screening, and I was a goner. Aw crap, I thought while wiping away tears. Two more minutes and I would've been fine.

Martin Freeman in The Hobbit: The Desolation of SmaugTHE HOBBIT: THE DESOLATION OF SMAUG

The first great sequence in The Hobbit: The Desolation of Smaug - and, sadly, one of the few truly great sequences in Peter Jackson's second (or fifth, if you'd rather) J.R.R. Tolkien installment - is an escape scene. At its start, hobbit protagonist Bilbo Baggins (Martin Freeman) and his dwarf companions sneak out of the Elven dungeon cells in which they've been imprisoned, and hope for clean getaways by stashing themselves in empty wine barrels and floating down a nearby river. Sounds simple. And it might have been if it weren't for the rapids, and the waterfalls, and the whizzing arrows, and the savage orcs, and Orlando Bloom gingerly bouncing atop our heroes' heads.

Woody Harrelson and Christian Bale in Out of the FurnaceOUT OF THE FURNACE, THE BOOK THIEF, and PHILOMENA

When it comes to films vying for Academy Awards attention, there are several themes and subjects generally guaranteed to pique voters' interest: post-war trauma; post-incarceration estrangement; the Holocaust; Judi Dench. Yet while a trio of recently released titles collectively addresses these and other Oscar-bait-y topics, I can't help feeling that the talents behind all three might wind up disappointed come nominations-announcement morning. Well, except for Judi Dench. There's just no stopping that Dame.

FrozenFROZEN

As its fans (and I'm one of them) will gladly attest, Disney's Frozen is a bit of a throwback to the studio's recent golden age of animated entertainments - that period from the late '80s to the mid-'90s that found more-or-less traditional fairy and folk tales goosed with healthy portions of Broadway razzmatazz. (Those in the press championing this new work as a welcome and rather bold return to form, however, do seem to have conveniently forgotten about 2009's excellent The Princess & the Frog and 2010's near-excellent Tangled.) But while much of the film follows the standard Disney-in-its-prime formula to the letter - big-eyed ingénue heroine, check; wacky animal sidekick, check; rafter-shaking power ballad destined to win an Oscar, check - there is one aspect to Frozen that separates it from the Little Mermaid/Beauty & the Beast/Lion King herd: The movie is kind of bonkers.

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