Is the prestige season over?

If there is anything that moviegoers can expect from year to year, it's that blockbusters will be released during the summer and awards hopefuls will be released during the fall. Any film that wants a shot at an Oscar will lobby for a fall release because that is what is viewed as "the prestige season."

These are the films that either feature big-name actors and powerhouse directors or those smaller films that have spent the year generating buzz on the film festival circuit. Once you start seeing trailers that say "Academy Award winner what's-his-name" and "Academy Award nominee so-and-so" or list countless film festival awards, you know the prestige season is here.

But why does it have to be that way? Why should we be led to expect quality cinema three months out of the year and just so-so fare the other nine? Is it really true that quality films are only released in the fall, or do awards just ignore everything that isn't released during this critical season?

Last year, the brilliant comedy "Hot Fuzz," though critically lauded, was shut out of the comedy categories at the Golden Globes, and David Fincher's gritty thriller "Zodiac" was ignored by the Oscars in spite of the film landing on many critics' top 10 lists. Both films were released during the first quarter of the year. In 2005, "Eternal Sunshine of the Spotless Mind" only landed 2 Oscar nominations and one win. It was one of the most acclaimed films of 2004 and still sits at number 57 on IMDB's top 250 movies of all time, but the film was released in March.

There is usually one film that was released earlier in the year that manages to maintain enough buzz and take home some awards (see 2007's "Once," 2006's "Little Miss Sunshine), but even those are often low-budget indies. Summer blockbusters rarely see nominations outside technical categories, and they rarely deserve it. But this year, things are likely about to change because of a little Christopher Nolan vehicle called "The Dark Knight."

It has been drilled into our heads that summer blockbusters are supposed to be huge special effects shows with little substance (see "Transformers). But Nolan has managed to do the unthinkable: He has produced a film that is simultaneously a blockbuster smash and a cinematic masterpiece. A combination of strong actors, sharp directing, an intelligent script and darkly perfect cinematography makes "The Dark Knight" one of the most critically acclaimed films of the year, and probably one of the most critically acclaimed blockbusters ever. It was released almost three months ago, and people are still marveling at its commercial and critical success.

Though last year's prestige season featured a slew of awards hopefuls that produced one of the better Oscar slates to come along in the past few years, this season doesn't look to be as strong, save for a handful of buzzworthy films like "Rachel Getting Married," "Changeling," "Revolutionary Road," "Doubt" and "The Soloist."

No matter what else pops up this season, it is hard to imagine a better performance coming along than Heath Ledger's in "The Dark Knight," and it's hard to imagine anything else matching up in the sophistication of its execution and the depth of its storytelling. Many critics also argue that, in addition to technical awards, the film should be nominated for at least Best Director and Best Adapted Screenplay, if not Best Picture, and Aaron Eckhart's and Gary Oldman's performances have also garnered a lot of praise.

Some credit should also be given to Andrew Stanton's outstanding "WALL-E," which very well might be the first animated movie since "Beauty and the Beast" with a shot at a Best Picture nod should the filmmakers choose to submit it in that category rather than Best Animated Picture. But a Best Animated Picture win is a lock, and nominations are also likely for Best Original Score, Best Cinematography and perhaps even Best Director.

Though there are still some films from the first three-quarters of the year that will surely not receive any awards buzz despite their critical and commercial success (like the biting satire "Tropic Thunder"), "The Dark Knight" might just lead the way to the end of the prestige season, creating an expectation for quality cinema year-round.

Hamlet 2

With a title like “Hamlet 2” and a theme song called “Rock Me Sexy Jesus,” this Sundance Film Festival favorite from the co-writer of “South Park: Bigger, Longer and Uncut” thrives off of its lunacy. This quirky comedy will not please everyone, but its off-beat story brings lots of laughs.

“Hamlet 2” follows Dana Marschz (Steve Coogan), a failed actor who has spiraled downward from bit parts on television to commercials for herpes medication to teaching high school drama in Tucson, Ariz. His staged versions of movies like “Erin Brockovich” have failed miserably, and his drama class only has two students.

His class finally increases in size when a school from the local Latino community is forced to shut down and merge with Dana’s school, but his failed productions cause the school board to cut the drama program. Though Dana’s offbeat nature is initially off-putting, his students ultimately find him endearing and encourage him to put on a spectacular show to convince the school board to keep the drama program alive.

Dana decides it is finally time to produce a musical he has been working on for years: a sequel to “Hamlet.” His play explores what would happen if Hamlet could go back in time and prevent the deaths of his family and friends. A time machine transports Hamlet throughout history where he meets an eclectic mix of characters, including Jesus Christ, on his quest to save Denmark.

When a disgruntled student gives the script to the principal, the play is banned because of its obscene content. But with the help of his drama students, like stuck-up Epiphany Sellars (Phoebe Strole), sharp-tongued Ivonne (Melonie Diaz) and fast-talking Vitamin J (Arnie Pantoja), Dana works to make sure “Hamlet 2” gets the chance to grace the stage.

“Hamlet 2” is not perfectly crafted. The film starts out a bit slow, but its actors keep the comedy flowing consistently. Coogan, who recently had a small role in the superior R-rated laugh-fest “Tropic Thunder,” finally gets the chance to shine in a lead role. Independent film queen Catherine Keener is great as Dana’s alcoholic wife, and Amy Poehler is a scene-stealer as the foul-mouthed civil liberties lawyer who takes an interest in the play.

The film also features some promising young talent, from Strole and her former “Spring Awakening” co-star Skylar Astin to Diaz and relative newcomer Joseph Julian Soria. The standout of the film, though, is Elisabeth Shue in a hilarious cameo as herself, Dana’s favorite actress.

A bit of the script falls flat, but overall the dialogue is sharp and witty and the musical numbers are comical and catchy. Though song titles like “Rock Me Sexy Jesus” may be initially offensive to some, the play’s obscenity fades away as the meaning behind the story becomes clear. The play’s production at the end of the film is absolutely the most entertaining part.

“Hamlet 2” isn't perfect, but in the cinematic downtime between summer blockbusters and Oscar gold, the film is an entertaining ride with an original brand of humor. B

What are Heath Ledger's Oscar chances?

Even before Heath Ledger’s tragic death on Jan. 22 at age 28, early footage of his iconic portrayal of The Joker in “The Dark Knight” was all anyone interested in the latest Batman installment could talk about. Now that he’s gone, Ledger’s last complete performance reminds audiences everywhere of an amazing talent lost too soon.

The critical and fan response to “The Dark Knight” has been overwhelming, and almost everyone has been blown away by Ledger’s performance. He shines in the kind of big-budget summer event film in which most actors have a difficult time standing out. He delves into The Joker and brings out a deeply psychopathic character who laughs at chaos and enjoys playing deadly mind games with everyone he meets.

Every time Ledger is onscreen the audience can’t take their eyes off him, and every time he’s not they can’t wait to see more of him. With a knockout performance like this one, there is only one thing left to speculate: Does Ledger’s Joker have what it takes to earn him a posthumous Oscar nomination?

Only six actors have been nominated for Oscars after their deaths: Jeanne Eagels for 1929’s “The Letter,” James Dean for 1955’s “East of Eden” and 1956’s “Giant,” Spencer Tracy for 1967’s “Guess Who’s Coming to Dinner,” Peter Finch for 1976’s “Network,” Ralph Richardson for 1984’s “Greystoke: The Legend of Tarzan, Lord of the Apes” and Massimo Troisi for 1995’s “The Postman.” Finch was the only one to actually win the Oscar posthumously.

The general consensus among critics seems to be that Ledger will likely earn a nomination for best supporting actor, but his chances of winning are less certain. Since only one actor has ever won the award after his death, it’s clear that the Academy of Motion Picture Arts and Sciences is reluctant to award deceased performers. Combine that with the Academy’s history of rarely honoring portrayals of villains, much less action villains, and Ledger’s chances of winning might be slim.

Then there are those who say the recent Oscar talk is because Ledger’s death is still fresh in everyone’s minds and that people just want to honor his life in any way they can. But when watching Ledger’s mesmerizing performance, one completely forgets that Ledger is dead. In fact, one completely disconnects the idea that it is Ledger onscreen. He is so completely immersed in his role that he simply is The Joker.

Will Ledger actually win the Oscar? Probably not. Will he get a nomination? Most likely. Does he deserve it? Absolutely.

All this talk about Ledger’s Oscar potential isn’t about honoring the dead. It’s about honoring a man who puts such outstanding effort into his role, who has the uncanny ability to be both comical and utterly chilling with every word he speaks and every movement he makes, that he gives one of the most incredible performances to ever grace the screen.

WALL-E

It's rare that a studio comes along that seems to consistently produce films with heartwarming stories, interesting characters and impeccable technical quality. But Pixar has managed to produce hit after hit, and "WALL-E" is no exception.

The charming tale of the last robot on a polluted Earth after all the humans have fled to outer space, "WALL-E" is reminiscent of the great Charlie Chaplin films. Offbeat, somewhat clumsy and completely lovable, WALL-E has been doing the same job for 700 years, unaware that his work has become futile as the planet has become an abandoned wasteland.

But the good-hearted robot finds adventure when he meets EVE, a robot sent to scan the planet for life from the spaceship that now houses all the humans. When he hitches a ride to space to be with EVE, WALL-E becomes involved in a plot to bring the humans back to Earth while trying to win the love and companionship of his new-found friend.

Though the majority of the film has no dialogue, it can still captivate the youngest of audiences. The story is entertaining and filled with heart, and WALL-E and EVE are perhaps some of the most well developed and endearing characters in any Pixar film. The movie is also a visual masterpiece, a treat for the eyes in the same vein as "Finding Nemo."

One of the first award-worthy films to be released this year, "WALL-E" could easily find itself as a Best Picture contender at this year's Oscars, and would definitely be a shoo-in to win the Best Animated Picture category. Refreshing and intelligent, "WALL-E" successfully continues Pixar's trend of producing original and entertaining fare for all ages. A

The Happening

The critical response to M. Night Shyamalan's movies seems to have gotten increasingly more negative with each movie he's made. He peaked early with the remarkable "The Sixth Sense" and did well with the lesser-known and under-appreciated "Unbreakable." "Signs" and "The Village" were so-so while "Lady in the Water" was a complete disaster. But with "The Happening," Shyamalan shows promise once again, at least with his directing if not his writing.

"The Happening" opens with a seemingly normal day in Central Park: children running, people walking their dogs, friends chatting on a bench. But soon people start forgetting things, are unable to speak, walk backwards and are ultimately driven to suicide. Suspecting that terrorists have released a toxin into the city, people are forced to evacuate.

Schoolteacher Elliot (Mark Wahlberg) and his estranged wife Alma (Zooey Deschanel) board a train and escape to Pennsylvania, but the train shuts down and they are stuck in the middle of nowhere with their friend's young daughter. As people try to figure out where to go, they find out that people are dying in smaller and smaller populations. They also discover that whatever is happening might not be because of terrorists at all, but the result of natural causes.

As more people start dying, Elliot and Alma must figure out how to survive and avoid the happening until it passes over.

The plot of "The Happening" is interesting and well-crafted. Through his direction, Shyamalan is able to instill the fear in his audience of trying to survive something infinitely bigger than oneself. It's in the dialogue that the film could use a little work.

At times Wahlberg's and Deschanel's performances feel sub-par, likely due to the stale writing rather than their abilities as actors. They have been continuously impressive with their previous work, but even they can't communicate the story without the dialogue coming across as forced.

Shyamalan's direction, though, harkens back to his work in "The Sixth Sense." Every shot has a Hitchcockian vibe to it, frightening the viewer without throwing around gratuitous amounts of gore. For the most part the suicides happen off camera, and it's what viewers don't see that frightens them the most.

Bodies rain down from a rooftop but the camera cuts away before the sound of a sickening splat. A woman's legs are in the frame as she bends down, picks up a gun, pulls the trigger and falls as a trail of blood oozes between the cracks in the sidewalk. It is these wordless moments that continue to frighten the audience and keep them in suspense.

Unfortunately Shyamalan's promising directing and his awkward writing don't mesh, causing "The Happening" to fall short of its potential. It doesn't come close to the brilliance of "The Sixth Sense," but it's also a step above "The Village" and far superior to "Lady in the Water." Though Shyamalan's had a bit of a slump since his incredible thriller debut, "The Happening" shows there is still hope for him as a director. C-

Hello fellow A&E lovers

After much consideration, I've decided it would be worth my while to start a blog. I'm currently the arts and entertainment section editor at The Pendulum, Elon University's newspaper, and an intern at Go Triad, the News & Record's weekly A&E section. At school and at work the same thing keeps getting drilled into my head: always keep writing. So I've decided to start this blog to keep my writing fresh. A&E has always been my passion, so I want to devote this blog to that subject. One day I hope to write for a publication like Entertainment Weekly, one that focuses on the artistic side and the business side of the entertainment industry rather than gossip. I honestly couldn't care less about Ashlee Simpson's wedding or whether or not Lindsay Lohan is dating a girl. I would rather read (and write) about the possibility of an actor's strike, the upcoming Emmy nominations or a director's commentary on a particular movie.

I've gotten a lot of experience writing about local arts and entertainment at The Pendulum and Go Triad, but this blog will focus on national A&E topics as well. I'll write movie reviews, offer commentary on A&E news, maybe share my thoughts on A&E reporting and occasionally post links to stories from The Pendulum or Go Triad that I'm especially proud of. Hopefully this blog will give me a way to keep writing and provide an outlet for the many A&E related thoughts that are constantly running through my mind. Check back tomorrow for my thoughts on M. Night Shyamalan's "The Happening."