In my goal to beat McCracken to it (you lose this time sir but you’ll always be a better writer than me) here are my thoughts on this morning’s Oscar nominations.

“The night is always darkest before the dawn.” A great line from a great film. This morning however, after the Oscar nominations were announced, I was hoping for a little more “Dark Knight” than I got.

We were all hoping 2009 would be the year a superhero movie was nominated for best picture… and rightfully so. Iron Man was sophisticated, mind-blowing, and fun. Christopher Nowlan’s Batman sequel didn’t stop at making its mark as an epic action flick. Rather, it undoubtedly shifted into the realm of  “excellent film,” inadvertent of its iconic protagonist. It was a piece that dueled with the relevant and the timeless, a piece that dared to ask such bold questions and discuss such profound dilemmas in ways only the medium of visual storytelling could accomplish. Sure, it’s no surprise Heath Ledger’s brilliant spin on the Joker landed a nod for best supporting actor, but when his competition includes Robert Downy Jr. for the sophomoric Tropic Thunder, it  would be blatant disrespect for the deceased to snub him.

Apart from that nonsensical addition, the lists for best actors and actresses both leading and supporting is surprisingly just. You’d be hard pressed to find someone unappreciative of Brad Pit’s unprecedented portrayal of Benjamin Button, and old man who gradually grows younger, or the magnetic, raw quality Mickey Rourke brought to The Wrestler. As I had hoped last month in my review of Button, the Academy acknowledged Taraji P. Henson’s arresting performance as Queenie, the most heroic and endearing of the film’s supporting cast. It puts me at ease to see the quartet from Doubt acknowledged for their efforts. Big shots like Adams, Hoffman, Streep, and the lesser-known Viola Davis possessed the teamwork and synergy it took to make Doubt’s leap from the stage to the big screen moving. Giving a nod to Richard Jenkins for his quirky, quiet portrayal as Walter Vale in the Visitor was an equally great move. The guy is a tremendous character actor, commanding and subtle all at the same time and his role in Burn After Reading was the only thing that kept me awake.

Wall-E and Slumdog Millionaire get what they deserve. They’re both innovative films with great music to back them up. While one could argue that Wall-E has a place alongside The Dark Knight in the best film category, there’s little doubt it will take home “best animated feature against Bolt and Kung-Fu Panda.

Oh, and where were these films?:
Gran Torino
Revolutionary Road
Synecdoche, New York

These three, ESPECIALLY Clint Eastwood’s compelling and beautiful Gran Torino (shame on the academy for not even giving him a nod), should have seen much more praise.

With the exception of those and a few other grave oversights, the 2009 Oscar nominations are an interesting and somewhat fair reflection of this past year in film. My hope is that Slumdog will come out victorious as best picture with David Fincher taking home Best Director for Benjamin Button. I’ve still yet to see Frost Nixon, The Reader, or Milk (which, correct me if I’m wrong, only seems to be getting hype because of its hyper-relevant, sensitive subject matter).

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On the heels of a new year with hopes for a more prosperous, less chaotic tomorrow, The Curious Case of Benjamin Button debuts with a timely and sobering declaration: “You never know what’s coming to you.”

…bummer. So whether we brave the recession storm to see our 401k’s intact, whether our facebooking efforts successfully manage to adjust our identities as they appear to others, or whether we blanket our emptiness with credit card purchases collecting more stuff to fill the void, there will come a point where we cannot control the life, the ambitions, the relationships, or the bank accounts we’ve worked so hard to maintain.

And that’s where the tale of Benjamin Button begins, at the apex of this conundrum…a hospital room.  A deathbed provides the backdrop for the film’s narration where an old woman with a faint and withering breath admits, “I’m curious what comes next.” What follows is a stylistically unconventional narrative about the significance of “letting go.”

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I saw this film on the day my new niece, Clara, was born, and it could not have been a better capstone to an already joyous day. Before seeing the film, I’d been thinking of the significance of this newborn life—that today was its first day, the first of many days and years and moments (by the grace of God) that will constitute her life. Like the many thousands of other babies born that day, she sucked in the earth’s air for the first time, just as, simultaneously, hundreds of other humans did it for the last time.

And so as I watched David Fincher’s The Curious Case of Benjamin Button, I couldn’t help but reflect: what is life, indeed what is time, if not a series of entrances and exits and movements and moments? It all happens so quickly, and yet it is so vast.

This is a film about life.