Review: The Soloist

Since "The Soloist" had so much hype surrounding it when it was initially scheduled for release last November, I had pretty high expectations when it finally hit theaters last weekend. It was supposed to be an awards vehicle for Robert Downey Jr. and director Joe Wright, but the movie definitely fell short of Oscar-worthy. Though the performances were strong overall, the movie as a whole did not meet critical expectations.

The story behind "The Soloist" is certainly a moving one. Los Angeles times columnist Steve Lopez (Downey) is recently divorced, somewhat irresponsible in his personal life and fully dedicated to his job. One day he stumbles across Nathaniel Ayers (Jamie Foxx), a mentally ill homeless man and gifted musician.

When Steve finds out Nathaniel was enrolled at Julliard but dropped out when his mental illness set in (likely schizophrenia, though he is never diagnosed), he becomes fascinated with him and decides to write a series of columns about him. As he profiles Nathaniel, Steve discovers first hand the plight of Los Angeles' homeless community. He also discovers a great deal about himself through his growing bond with Nathaniel, who he ultimately considers his friend.

There is no question that "The Soloist" is a very moving and eye-opening story. The bond between Steve and Nathaniel is heart-warming, and the film raises many questions about the homeless population in America. The movie emphasizes how homelessness is often overlooked here and consequently these people aren't receiving the help they need to get back on their feet.

The strongest performance comes from Downey. Steve is the type of role Downey is very comfortable with: irresponsible and flawed yet charismatic and charming with a dry sense of humor. He is most powerful during his more emotional scenes with Foxx, but I don't think I would deem his performance Oscar-worthy. He honestly deserved his nomination for "Tropic Thunder" more. Downey completely threw himself into that role. He had impeccable comic timing as an Australian playing a black man, and that performance was clearly more challenging than his role as Steve.

Foxx was hit-or-miss in this film. A few times it was very clear that he was acting. It felt like he gave a little too much in some of his fast-paced conversations with Downey. But in all fairness, portraying a mentally ill person is probably the most challenging thing an actor can do. It's very difficult to bring out the reality of that kind of role without making it too much of a characterization. The best portrayals of mentally ill people I've seen are all about the nuances the actor uses, and Foxx was strongest in this film when he was nuanced. When he was on, he was really on, particularly during the scenes in which Nathaniel was actually playing an instrument. Foxx showed how Nathaniel truly became lost in the music, and you can see the passion he feels for it in the details of his face.

Catherine Keener also gave a solid performance as Steve's ex-wife and co-worker, but she was drastically underused. It was unfortunate to see someone of Keener's caliber relegated to a role that I often felt the movie could have done without. I wasn't really sure what her purpose was other than to emphasize what a failure Steve was in his personal life. But she did have good chemistry with Downey, and their scenes together were engaging.

The weakest part of the film by far was Joe Wright's direction. It was very uneven, and it felt as though he wasn't sure what he wanted to do. He had a much clearer vision with his most notable past films, the sweeping romances "Pride and Prejudice" and "Atonement." His style of directing worked beautifully there, but here it fell flat. He was just not the right fit for this film.

Wright tried way too hard to be artistic when he should have striven for more realism in this case. Yes, the story was beautiful, but he should have let the story speak for itself. Rather than focusing on the overwhelming passion Foxx expressed for his music or the growing admiration in Downey's eyes as he watched him play the cello, Wright inserted unnecessary shots of birds flying, colors swirling or overhead views of Los Angeles. The emotion flowed through Downey and Foxx in those scenes, but Wright's attempts at artistry felt too contrived.

He showed much more realism in the scenes in which Steve visits Nathaniel at the homeless community and interviews some of the other homeless people in the area. It was odd to have these scenes juxtaposed with Wright's other stylized scenes. Had the film retained the more realistic tone its depictions of the homeless had, it would have been far more successful.

Wright also did make a strong directing choice in one of the flashback sequences, though the flashbacks overall felt repetitive as the information they were showing audiences had already been discussed earlier in the film. But in one flashback sequence, the audience can hear every voice going through Nathaniel's head and the distressing things those voices are saying to him. In this scene, you can completely understand how Nathaniel would go crazy hearing those voices constantly, and the pain Foxx conveys is absolutely heartbreaking.

There were also a few facts in the film that I later found out were changed, most notably that in real life, Steve Lopez has never been divorced. He is still happily married. I'm not sure why the writers felt the need to change this, other than to uphold the stereotype that journalists are disorganized and irresponsible people who, while dedicated to their jobs, are a mess when it comes to their personal lives. It would have been perhaps even more compelling to see Steve's struggle to balance his new-found friendship with Nathaniel with his relationship with his family. Steve Lopez also wrote a book about his relationship with Nathaniel, "The Soloist: A Lost Dream, an Unlikely Friendship and the Redemptive Power of Music," which likely presents a more realistic view of their story.

The story of "The Soloist" is so compelling that I would still recommend people see it. Steve and Nathaniel's relationship is inspiring and the film's portrayal of the homeless should resonate deeply with viewers. The movie had a lot of potential, but unfortunately it fell short in its execution. But even though its direction was disappointing, the film does have some positives, particularly in its performances. "The Soloist" tells a significant story, and though it was not told as well as it could have been, it is more important that it was at least told. B-

Review: "State of Play"

April is usually a pretty lifeless time of the year for movies, the period between the prestige Oscar contenders of the fall and the action-packed blockbusters of the summer. But this year, director Kevin Macdonald offers audiences a refreshingly intelligent and engaging thriller with “State of Play.”

Based on the 2003 BBC miniseries, “State of Play” opens with the death of Sonia Baker, an aide to U.S. Congressman Stephen Collins (Ben Affleck). When it is revealed that Stephen and Sonia were having an affair, Stephen turns to his old friend Cal McAffrey (Russell Crowe) for help.

Sonia’s death is ruled a suicide but Stephen believes it was murder, so Cal, a veteran crime reporter at The Washington Globe, decides to investigate the matter further. As he begins to dig deeper into the case, Cal butts heads with Della Frye, a young new reporter who has been covering the case for the Globe’s politics blog.

When a double murder Cal has been reporting on turns out to be related to Sonia’s murder, Cal and Della decide to join forces to uncover the truth. After days of digging, Cal and Della realize the case is bigger than they both expected and may be related to an intricate corporate conspiracy.

“State of Play” is more than two hours long, but the time passes by quickly between all of the plot twists. The murder case is complex and the film’s pace is consistently intense, so there is never a moment when the audience is not engaged. In addition to the exciting main action, the film also raises some insightful questions about the ethics and morality of politics and journalism.

This film’s ability to combine enticing action, strong character development and intelligent and thought-provoking themes should come as no surprise given the screenwriters behind it. Matthew Michael Carnahan (“The Kingdom”), Tony Gilroy (“Michael Clayton”) and Billy Ray (“Breach,” “Shattered Glass”) have just the right blend of styles and experiences to create this kind of involved political thriller.

Director Macdonald, whose last major release was “The Last King of Scotland” in 2006, is also a good fit for this film. His use of the shaky, handheld camera lends itself well to the film’s intensity and emphasizes the urgency of solving the case quickly. Macdonald pays careful attention to the plot’s details but still keeps the pace moving.

The film also benefits from an all-star cast. Crowe’s and Affleck’s respective cynicism and charm balance each other well, and Cal and Stephen are both multi-layered and well-developed characters. Affleck had a string of career flops prior to his comeback as a director with 2007’s “Gone Baby Gone,” and it’s nice to see him step back into more substantial roles in front of the camera.

McAdams gives a strong supporting performance as Della, and she and Crowe have a nice dynamic as a seasoned journalist and his fresh-faced protégé. Helen Mirren is tough in her role as Cameron Lynne, the Globe’s editor, but her dry wit also eases the tension and offers a few laughs. Jason Bateman also stands out in an uncharacteristically dark role as Dominic Foy, who is part sleazy public relations representative and part bisexual fetishist.

“State of Play” could have awards potential, but unfortunately since it was released in the first half of the year, it will likely follow the path of 2007’s “Zodiac” and come up short at Oscar time. But even though this film may be ignored by the Academy, it shouldn’t be ignored by audiences. A-

Review: I Love You, Man

Those brilliant Judd Apatow regulars have done it again. Paul Rudd and Jason Segel keep the laughs coming in "I Love You, Man," which follows Rudd's Peter Klaven as he struggles to find a best man.

After proposing to his dream girl, Zooey (Rashida Jones), Peter is on top of the world. But after watching Zooey interact with her tight-knit group of girlfriends, he realizes he has no one to call his best man. Having moved around a lot as a kid and always relating more to women, Peter has never really had a best guy friend.

Determined not to leave Peter without a wedding party, his brother Robbie (Andy Samberg) sets him up on a series of "man-dates." After disastrous outings with Lonnie (Joe Lo Truglio), a man with a dreadful voice crack, and Doug (the hilarious Thomas Lennon), who thinks his "man-date" with Peter is a real date, Peter has almost lost hope.

Then he meets Sydney Fife (Jason Segel), a carefree guy who attends one of Peter's real estate open houses because he wants to meet girls and eat free food. Peter and Sydney are complete opposites, but after striking up a conversation, Peter decides Sydney may just be best man material.

The film follows their developing "bromance" as Sydney coaxes Peter out of his shell and Peter tries to encourage Sydney to take a little more responsibility in his life. The two develop such a strong bond that Peter must figure out how to balance spending time with his new friend and his new fiancee.

The plot is fairly predictable, but John Hamburg and Larry Levin's script is nevertheless refreshing and funny. The jokes are fast and right on target, making for a movie that is both funny and sweet.

Rudd and Segel have great chemistry, which makes their onscreen relationship enjoyable to watch. After strong supporting performances in "The 40-Year-Old-Virgin," "Knocked Up" and "Forgetting Sarah Marshall," it's nice to see the affable and charming Rudd step into a lead role.

"I Love You, Man" may not be quite on the same level of comedic brilliance as "Virgin," but it's still a feel-good film that offers viewers plenty of laughs. B+

Review: Watchmen

Some skeptical fans of "Watchmen" deemed the complex graphic novel an unfilmable story. But "300" director Zack Snyder has created a near-masterpiece, packing a remarkable amount of the novel's material into a 2-hour-and-41-minute runtime.

The story's plot is hard to describe, but the film communicates it nicely so it is still easily digestible to viewers who aren't familiar with the graphic novel. "Watchmen" takes place in an alternate 1985, one in which the threat of nuclear war is still very real, but the work of costumed vigilantes has changed the outcome of history. Masked heroes first appear as the Minutemen in the 1940s, with a new generation of crime fighters taking over as the Watchmen in the 1960s. But in the 1970s, the public turns on these heroes and the government deems vigilantism illegal, forcing the heroes into retirement.

But the government still recognizes the power of the masked hero and uses two of them for their own purposes: The Comedian (Jeffrey Dean Morgan), a strong and aggressive man with a cynical outlook on humanity, and Dr. Manhattan (Billy Crudup), the only Watchman with actual super powers, which he obtained after a freak accident in his physics lab. Thanks to their efforts, the United States won the Vietnam War and by 1985 Richard Nixon is in his fifth term as president.

These particular plot points are seen as flashbacks, but the story's main action kicks off in 1985 when The Comedian is murdered. Rorschach (Jackie Earl Haley), the one Watchman who refuses to live without his mask, believes someone wants to kill the remaining Watchmen and calls on his former colleagues to warn them of his suspicions. Along with the looming threat of nuclear war with Russia, the increasing threats against the Watchmen's lives lead them to something far more life-altering than expected - something that could affect the fate of the entire world.

"Watchmen" is rife with action and political and social commentary, and David Hayter and Alex Tse's screenplay connects it all seamlessly. To get viewers up to speed on the complex story, they insert the history of the the Minutemen, seen in the novel as flashbacks, into a brilliant opening credits sequence.

Zack Snyder's direction is strong overall. It looks as though he has taken frames directly from the graphic novel and brought them to life. The color scheme and slow-motion action shots make for a very visually appealing film. But Snyder's music choices are very hit or miss. Some are extremely effective (Bob Dylan's "The Times They Are A'Changin'" during the opening credits, Simon and Garfunkel's "The Sounds of Silence" during The Comedian's funeral) while others don't mesh well with the content of the scene (Leonard Cohen's version of "Hallelujah" during a not-so-subtle love scene between Patrick Wilson's Nite Owl II and Malin Akerman's Silk Spectre II).

Some fans of the graphic novel have taken issue with Snyder's slightly-altered ending, but the point of the film's ending is exactly the same as the novel's. It just uses a different means, which actually plays out better onscreen than the novel's conclusion would have.

The performances are strong overall. Crudup and Wilson are solid as Dr. Manhattan and Nite Owl II, while Akerman's delivery is a bit dry at times and the American accent British actor Matthew Goode attempts to give Ozymandias fluctuates so much one can't tell where he's supposed to be from.

But the film really belongs to Morgan and Haley. Haley in particular flawlessly breathes life into Rorschach, arguably the film's most complex character. His black-and-white view of life makes him hard to relate to, but Haley makes him sympathetic all the same.

A story as dark and complex as "Watchmen" is bound to have a few flaws in its transition to the screen. Snyder faced a real challenge with this adaptation, and he has achieved a final product as strong as fans of the novel and new fans alike could hope for. A-

Box office booms despite economic downturn

Businesses across the country have taken a major hit during the past few months because of the declining economy. But while many industries are suffering, Hollywood is staying strong.

According to box office tracking company Media by Numbers, ticket sales are up to $1.7 billion, a 17.5 percent rise from this time last year. While some of this increase can be attributed to higher ticket costs, movie attendance has also risen about 16 percent.

While ticket prices have continued to increase, seeing a movie is still one of the cheaper entertainment options available to consumers, associate professor of communications Michael Frontani said.

“Movie theaters, despite their exorbitant price, are still a relatively cheap night out, certainly cheaper than plane fare to London or Orlando – for that matter, it is cheaper than a meal at McDonald’s,” Frontani said. “People may well feel that they can splurge on a movie once a week or so, particularly if they feel consciously or subconsciously that it is in lieu of a more expensive recreation.”

Steve DeLoach, professor of economics, said he agrees with Frontani’s assessment. According to DeLoach, people may be substituting going to the movies for other forms of entertainment they no longer want to spend money on, like going out to dinner or buying electronics.

“Usually in a bad economy people will stop spending on things that aren’t necessary, “ DeLoach said. “If they used to spend $200 on entertainment, they may try to spend $100.”

According to a recent article in the New York Times, there has been little research about this trend. But the piece does cite a 2002 study from the journal Issues in Political Economy by Elon alumna Michelle Pautz, who graduated in 2003.

In “The Decline in Average Weekly Cinema Attendance,” Pautz said in 1930 about 65 percent of the U.S. population went to the cinema each week. That number dropped to about 40 percent during the Great Depression before peaking back above 60 percent during World War II. But in the 1960s attendance dropped again to about 10 percent and has remained in that range ever since.

“According to (Pautz’s) work, a recession should lead to fewer people going to the movies,” said DeLoach, who mentored Pautz on her research. “So it is a bit odd.”

Frontani said another factor in the recent box office increase could be that people are using the movies as a means of escape from the recent economic turmoil.

“When thinking about escapism, one shouldn’t view it solely as a longing for something better, more fun, more beautiful, et cetera,” Frontani said. “It can also mean the 90 minutes that you sit in a theater watching a film, no matter the content, when you are simply taking a break from the day.”

The kinds of movies that have generated the most box office success in recent months reflect Frontani’s view. The crowd-pleasing “Marley and Me” was a holiday-season sensation with a $141 million gross, the low-budget thriller “Taken” recently crossed the $100 million line and Zack Snyder’s dark and graphic adaptation of “Watchmen” earned $55.4 million in its opening weekend.

While there are many reasons behind this box office resurgence, DeLoach said if a key factor is indeed people using cinema as a substitute for other forms of entertainment, box office revenue will likely go back down once the economy improves.

But according to DeLoach, Hollywood should be able to reap the benefits of the economic downtown for many months to come as it might be awhile before the recession takes a turn.

“If we’re lucky we’ll start seeing some positive signs by the end of the year,” DeLoach said.

Mini Reviews

Tropic Thunder
An absolutely hilarious satire on the movie business. Robert Downey Jr. is the standout of the bunch, but all five leads are hysterical. Tom Cruise even gets some cool points for his cameo. I laughed so hard I cried. A-

Rachel Getting Married
A very powerful and naturalistic film about unconditional love in spite of even the most tragic crises. The nuanced performances from the entire ensemble are worthy of praise, though Anne Hathaway and Rosemarie DeWitt in particular stand out. The shaky cam might not be for everyone, but it provides the film with a more intimate feel. A-

Milk
A deeply moving and profound story about the first openly gay man elected to public office in the U.S. Grounded by brilliant acting, top-notch directing and an amazing screenplay, "Milk" is sure to land Oscar nods for Sean Penn, Josh Brolin, Gus Van Sant and the picture as a whole. A

The Visitor
A thoughtful and subdued look at friendship and the challenges of immigration. Veteran character actor Richard Jenkins will likely earn an Oscar nomination for his captivating performance, and Haaz Sleiman's performance as a charismatic immigrant thrown in a detention center is equally deserving. B+

Let the Right One In
Enchanting and eerie at the same time, this Swedish tale of a bullied young boy and the vampire he becomes fascinated with blends horror and romance in unusual and captivating ways. B

The Curious Case of Benjamin Button
This fantasy about a man who ages in reverse is visually stunning, with brilliant direction from David Fincher and top-notch acting from Brad Pitt, Cate Blanchett and Taraji P. Henson. B+

Frost/Nixon
A gripping dramatization of British talk show host David Frost's historic interviews with Richard Nixon, "Frost/Nixon" is captivating all the way through. Peter Morgan's script doesn't miss a beat, and Frank Langella and Michael Sheen lead a strong cast. B+

Slumdog Millionaire
Without a doubt one of the best films of the year. "Slumdog Millionaire" is strong on all fronts, from the script to the directing to the acting to the incredible visuals. The audience becomes completely invested in the emotionally compelling story, which proves that every once in a while a tragedy can have a happy ending. A

Doubt
Overall this is a good film. The acting is incredible all around. The performances from Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis are the best of the year, and the story is a compelling one. The film falls a little short in John Patrick Shanley's inconsistent directing, so it's not quite worthy of a best picture nomination. But the movie is still worth watching for the acting, all of which deserves to be recognized by the Academy. B+

Oscar Predictions and Winners

Best Picture
This is one of the few categories in which the winner is almost a sure thing. It was unlikely for “The Reader” to even be nominated, and while “Frost/Nixon” has been nominated consistently throughout awards season, it hasn’t garnered any wins. The visually stunning “Curious Case of Benjamin Button” and the politically topical “Milk” could be contenders. But the poignant, beautiful and emotionally powerful “Slumdog Millionaire” has swept every other major awards race so far and probably won’t stop now.
Will win: “Slumdog Millionaire”
Should win: “Slumdog Millionaire”
Should have been nominated: “The Dark Knight”

Best Actor
Veteran character actor Richard Jenkins finally got the chance to shine with his subtle performance in “The Visitor,” Brad Pitt did a solid job breathing life into every age of “Benjamin Button” and Frank Langella did a remarkable job balancing Richard Nixon’s humanity and corruptness in “Frost/Nixon.”
But this race is really between Sean Penn and Mickey Rourke. Rourke tugged at audiences’ heartstrings and showed real versatility with his comeback role in “The Wrestler.” But Penn’s incredible portrayal of Harvey Milk, California’s first openly gay politician, has picked up steam following his SAG Award win, and many critics cite its relevance in light of the Proposition 8 controversy.
Will win: Sean Penn, “Milk”
Should win: Sean Penn
Should have been nominated: Leonardo DiCaprio, “Revolutionary Road”

Best Actress
Angelina Jolie and Melissa Leo will likely not take home an award for their roles in “Changeling” and “Frozen River” respectively, but the other three lead actresses are all contenders.
Academy favorite Meryl Streep gives another strong and intense performance in “Doubt,” and Anne Hathaway proves she’s left behind her “Princess Diaries” days with her gritty portrayal of a recovering alcoholic in “Rachel Getting Married.” But Kate Winslet has taken home trophy after trophy for her role in ‘The Reader,” and a switch to the lead category from the supporting category shouldn’t stop her this time.
Will win: Kate Winslet, “The Reader”
Should win: Anne Hathaway, “Rachel Getting Married”
Should have been nominated: Cate Blanchett, “The Curious Case of Benjamin Button”

Best Supporting Actor
This category should be a lock. Michael Shannon stands out in his few scenes as a mentally ill mathematician in “Revolutionary Road.” Robert Downey Jr. proves his comedic genius playing an Australian playing a black man in “Tropic Thunder.” Philip Seymour Hoffman gives another brilliant performance as a priest accused of molestation in “Doubt.” Josh Brolin tackles the role of Harvey Milk’s assassin with ease.
But this year, no one can compare to the sheer magnitude of Heath Ledger’s Joker in “The Dark Knight.” Ledger has dominated this category at other awards thanks to his ability to immerse himself in this psychopathic and darkly comic character. And on Sunday, he should become the second actor in history (after “Network’s” Peter Finch) to win an Oscar posthumously.
Will win: Heath Ledger, “The Dark Knight”
Should win: Heath Ledger
Should have been nominated: Dev Patel, “Slumdog Millionaire”

Best Supporting Actress
This race is the hardest to call. Amy Adams and Viola Davis are both amazing in “Doubt,” but will likely split the vote since they are nominated for the same film. Taraji P. Henson is remarkable as “Benjamin Button’s” surrogate mother but has failed to pick up steam at other major awards.
This category will likely come down to “Vicky Cristina Barcelona’s” Penelope Cruz and “The Wrestler’s” Marisa Tomei. Both have swept the critics awards. They lost to Kate Winslet at the Golden Globes and the SAG Awards, but her move to the lead category clears the path for one of them here.
Will win: Penelope Cruz, "Vicky Cristina Barcelona"
Should win: Taraji P. Henson, “The Curious Case of Benjamin Button”
Should have been nominated: Rosemarie DeWitt, “Rachel Getting Married”

Best Director
“Milk’s” Gus Van Sant and “Frost/Nixon’s” Ron Howard both did solid work this year but don’t stand out enough from their competition. Unless “The Reader’s” Stephen Daldry pulls an upset as surprising as his nomination, he’ll likely go home empty handed as well.
David Fincher’s fantastical world of “Benjamin Button” is certainly worthy of recognition. But Danny Boyle’s ability to combine tragedy, hope, raw emotion and visual appeal paired with his Director’s Guild win should ensure the man behind “Slumdog Millionaire” a prize.
Will win: Danny Boyle, “Slumdog Millionaire”
Should win: Danny Boyle
Should have been nominated: Christopher Nolan, “The Dark Knight”

Best Adapted Screenplay
There should be no real surprises in this category, with four out of five nominees also best picture nominees. “Benjamin Button,” “Frost/Nixon,” “The Reader” and “Doubt” all have strong scripts, but “Slumdog Millionaire” still stands out above the rest.
Will win: Simon Beaufoy, “Slumdog Millionaire”
Should win: Simon Beaufoy
Should have been nominated: Christopher and Jonathan Nolan, “The Dark Knight”

Best Original Screenplay
“Frozen River,” “In Bruges” and particularly “Happy Go Lucky” could potentially pull upsets, but the race is likely between “Milk’s” Dustin Lance Black and “WALL-E’s” Andrew Stanton, Pete Docter and Jim Reardon.
The “WALL-E” team’s futuristic story combined with silent movie style played out brilliantly onscreen. But while it would be nice to see the film get some recognition in a major category, the Academy will likely go with Black’s inspiring “Milk” script, especially given its relevance amid the Proposition 8 controversy.
Will win: Dustin Lance Black, “Milk”
Should win: Andrew Stanton, Pete Docter and Jim Reardon, “WALL-E”
Should have been nominated: Ben Stiller, Justin Theroux and Etan Cohen, “Tropic Thunder”

And now the complete list of nominees and winners, with my predictions indicated in bold and the winners in bold parentheses:

Best picture
"The Curious Case of Benjamin Button"
"Frost/Nixon"
"Milk"
"The Reader"
"Slumdog Millionaire" (winner)

Director
Danny Boyle, "Slumdog Millionaire" (winner)
Stephen Daldry, "The Reader"
David Fincher, "The Curious Case of Benjamin Button"
Ron Howard, "Frost/Nixon"
Gus Van Sant, "Milk"

Actor
Richard Jenkins, "The Visitor"
Frank Langella, "Frost/Nixon"
Sean Penn, "Milk" (winner)
Brad Pitt, "The Curious Case of Benjamin Button"
Mickey Rourke, "The Wrestler"

Actress
Anne Hathaway, "Rachel Getting Married"
Angelina Jolie, "Changeling"
Melissa Leo, "Frozen River"
Meryl Streep, "Doubt"
Kate Winslet, "The Reader" (winner)

Supporting actor
Josh Brolin, "Milk"
Robert Downey Jr., "Tropic Thunder"
Philip Seymour Hoffman, "Doubt"
Heath Ledger, "The Dark Knight" (winner)
Michael Shannon, "Revolutionary Road"

Supporting actress
Amy Adams, "Doubt"
Penelope Cruz, "Vicky Cristina Barcelona" (winner)
Viola Davis, "Doubt"
Taraji P. Henson, "The Curious Case of Benjamin Button"
Marisa Tomei, "The Wrestler"

Animated feature
"Bolt"
"Kung Fu Panda"
"WALL-E" (winner)

Adapted screenplay
"The Curious Case of Benjamin Button," screenplay by Eric Roth, screen story by Eric Roth and Robin Swicord
"Doubt," written by John Patrick Shanley
"Frost/Nixon," screenplay by Peter Morgan
"The Reader," screenplay by David Hare
"Slumdog Millionaire," screenplay by Simon Beaufoy (winner)

Original screenplay
"Frozen River," written by Courtney Hunt
"Happy-Go-Lucky," written by Mike Leigh
"In Bruges," written by Martin McDonagh
"Milk," written by Dustin Lance Black (winner)
"WALL-E," screenplay by Andrew Stanton, Jim Reardon; original story by Andrew Stanton, Pete Docter

Art direction
"Changeling," James J. Murakami; set decoration: Gary Fettis
"The Curious Case of Benjamin Button," Donald Graham Burt; set decoration: Victor J. Zolfo (winner)
"The Dark Knight," Nathan Crowley; set decoration: Peter Lando
"The Duchess," Michael Carlin; set decoration: Rebecca Alleway
"Revolutionary Road," Kristi Zea; set decoration: Debra Schutt

Cinematography
"Changeling," Tom Stern
"The Curious Case of Benjamin Button," Claudio Miranda
"The Dark Knight," Wally Pfister
"The Reader," Chris Menges and Roger Deakins
"Slumdog Millionaire," Anthony Dod Mantle (winner)

Costume design
"Australia," Catherine Martin
"The Curious Case of Benjamin Button," Jacqueline West
"The Duchess," Michael O'Connor (winner)
"Milk," Danny Glicker
"Revolutionary Road," Albert Wolsky

Documentary feature
"The Betrayal (Nerakhoon)"
"Encounters at the End of the World"
"The Garden"
"Man on Wire" (winner)
"Trouble the Water"

Documentary short
(no prediction)
"The Conscience of Nhem En"
"The Final Inch"
"Smile Pinki" (winner)
"The Witness -- From the Balcony of Room 306"

Film editing
"The Curious Case of Benjamin Button," Kirk Baxter and Angus Wall
"The Dark Knight," Lee Smith
"Frost/Nixon," Mike Hill and Dan Hanley
"Milk," Elliot Graham
"Slumdog Millionaire," Chris Dickens (winner)

Foreign language film
"The Baader Meinhof Complex," Germany
"The Class," France
"Departures," Japan (winner)
"Revanche," Austria
"Waltz with Bashir," Israel

Makeup
"The Curious Case of Benjamin Button," Greg Cannom (winner)
"The Dark Knight," John Caglione Jr. and Conor O'Sullivan
"Hellboy II: The Golden Army," Mike Elizalde and Thom Floutz

Original score
"The Curious Case of Benjamin Button," Alexandre Desplat
"Defiance," James Newton Howard
"Milk," Danny Elfman
"Slumdog Millionaire," A.R. Rahman (winner)
"WALL-E," Thomas Newman

Original song
"Down to Earth" from "WALL-E," music by Peter Gabriel and Thomas Newman, lyrics by Peter Gabriel
"Jai Ho" from "Slumdog Millionaire," music by A.R. Rahman, lyrics by Gulzar (winner)
"O Saya" from "Slumdog Millionaire," music and lyrics by A.R. Rahman and Maya Arulpragasam

Animated short

(no prediction)

"La Maison en Petits Cubes" (winner)
"Lavatory -- Lovestory"
"Oktapodi"
"Presto"
"This Way Up"

Live-action short

(no prediction)

"Auf der Strecke (On the Line)"
"Manon on the Asphalt"
"New Boy"
"The Pig"
"Spielzeugland" (winner)

Sound editing
"The Dark Knight," Richard King (winner)
"Iron Man," Frank Eulner and Christopher Boyes
"Slumdog Millionaire," Glenn Freemantle and Tom Sayers
"WALL-E," Ben Burtt and Matthew Wood
"Wanted," Wylie Stateman

Sound mixing
"The Curious Case of Benjamin Button," David Parker, Michael Semanick, Ren Klyce and Mark Weingarten
"The Dark Knight," Lora Hirschberg, Gary Rizzo and Ed Novick
"Slumdog Millionaire," Ian Tapp, Richard Pryke and Resul Pookutty (winner)
"WALL-E," Tom Myers, Michael Semanick and Ben Burtt
"Wanted," Chris Jenkins, Frank A. Montaño and Petr Forejt

Visual effects
"The Curious Case of Benjamin Button," Eric Barba, Steve Preeg, Burt Dalton and Craig Barron (winner)
"The Dark Knight," Nick Davis, Chris Corbould, Tim Webber and Paul Franklin
"Iron Man," John Nelson, Ben Snow, Dan Sudick and Shane Mahan