REVIEW: Editors

Artist: Editors
Album: An End Has A Start
Plattenspieler Rating: 6.5/10

Refreshingly when they first arrived, Editors had something slightly different to offer from the rest of the chilly post-punk sounds so deeply in vogue. While Interpol likely did exactly what these folks were aiming for with even more startling confidence on Antics, Editors managed to mostly eschew the misarablist ice of Joy Division for the warmer climates of The Chameleons and The The. While still obviously in thrall to Ian Curtis in their pitch black record cover and thumping, Hooky basslines, their existed a hope in their songs that lifted them from the dark of post-punk and further towards the elegiac anti-anthems of early-REM, lacking still the lyrical grace maybe but not lacking the tunes.

Their first album The Back Room, while no masterwork, provided superlative singles in 'Munich' and 'Blood' ("Blood runs through your veins/thats where our similarities end") and pointed the way towards a promising future producing Echo-like glacial singles to live on.

An End Has A Start opens in tubthumping manner with 'Smokers Outside The Hosptial Doors', a confident stride through hammering drums (ever present across the record) and stadium-sized choruses. Any trenchcoated chilliness dissapates for heartfelt sympathy and everyday minutae. Whisper it quietly, but this is very close to what Snow Patrol are doing right now on Grey's Anatomy.

It barely lets up in terms of bombastic eighties guitars and giant drums for the next few tracks and its so far, so last album. When Paul Smith utters "Slow down little one/you can't keep running away", you wish he would take his own advice and give you a let up from this relentless Echo guitars and New Order bass onslaught and try something a little more colourful. And he does on 'Put Your Heads Towards The Air' which again strays slightly into Snow Patrol territory again but don't take this badly, its a genuinely good thing. Editors have a graceful touch, able to retain the smaller emotions even in these huge, built-for-domination tracks. Against that, they sound so much like Interpol here that plagarism is a genuine concern. But then, Editors have never been anything but the sum of their influences.

The most interesting moment of the record comes at its close, the piano-led 'Well Worn Hand' which reveals an open emotion which remains hidden for much of the record. For all the emotive sweep the songs take on, real heart is lacking and it holds back Editors from moving on into that new stratosphere of band. Indeed, just as Interpol streamlined their artier tendencies for Antics, Editors have embraced the anthemists inside and have made an album built for indie consumption in large arenas. Its a simultaneous step forward and back, losing some of the intimacy but gaining a huge audience. Good luck to them, Q Magazine will love it.

REVIEW: Voxtrot

Artist: Voxtrot
Album: Voxtrot
Plattenspieler Rating: 6.5/10

Having rode an astonishing wave of praise after two excellent EPs last year, the hype behind these Texans anglophiles has calmed a little and the vicious blogger backlash begun. Their 'Mothers, Sisters, Daughters and Wives' was one of last years best singles, jabbed melodic guitars and fuzzy, Smiths-ish choruses burrowed into me and I was utterly enamoured. My personal backlashing moment came seeing them support The Shins over here and giving a just horrible performance (partly due to sound) that left me disappointed and redfaced with friends I'd recommended the band too.

When hype like this builds, taking a band on their own terms becomes difficult (a la Arctic Monkeys) but once the dust has settled and the talk silenced, Voxtrot have made a pretty good debut album. This was never to be a band to change you life, even their best work was utterly in thrall to melodic guitar chiming of the past from The Smiths to Wedding Present with a dose of Belle and Sebastian thrown in. The eloquence of those acts comes through at time with 'Kid Gloves' and the lovely, string drenched 'Introduction' opening the album in style. 'Ghost' never seems to deliver the promise while 'Firecracker' and 'Brother In Conflict' both fail on the count that they can't quite rock out the way the songs need them too. Great lines abound though throughout. "I never had guts, I'm a Velvet Touch" is particularly Morrissey-esque from 'Brother In Conflict' and singer Ramesh Srivastava does have a great turn of phrase. Elsewhere, 'Stephen' is a quirky, twee gem while 'Real Life Version' sound a little piano-rock but retains its appealing humanity.

Its no masterpiece but this is serviceable, enjoyable music and deserves attention, if not quite as much as it may well get.

REVIEW: Modest Mouse

Artist: Modest Mouse
Album: We Were All Dead Before The Ship Even Sank
Plattenspieler Rating: 9.1/10

In a right and just musical World, Modest Mouse's 'Float On' would have been a Timberlake sized pop hit. All stomping chorus and uplifting angularity, it broke Isaac Brock and his band of indie godheads into the mainstream, so much so that this follow up to Good News For People Who Love Bad News went straight in at No. 1 on the US charts. Its a strange turn of events for a band whose career to that point was strewn with difficult, often beautiful music and crushing personal problems. All of a sudden, this is the biggest little band in the World and now they need an album to deliver on the promise so many have bought in to.

Leaked prior to release, the blogs were polarized in opinion of whether this album constituted a selling out, a loss of the occasional dissonant forays into art rock epicism that characterised their excellent albums previously or if this was the step forward into a fuller, even mature sound. Happily, while first listens may not quite capture the breathtaking scope of Brock's new confidence, the record reveals itself to be their finest work yet over time.

The addition to the band of Johnny Marr (Smiths jangling genius) has made a huge difference in the band's ability to flesh songs out fully, preventing the occasional lapses in quality control that peppered Good News.... 'Dashboard' is as catchily spiky as 'The View' but manages to sustain itself throughout with trumpets decorating the jabbed guitars. 'Spitting Venom' is an epic work of genius that may well be their 'Stairway' but the finest moments come in Brock's ability to use that voice in such differing phrasing patterns, creating multiple emotions often within the space of one line. While not quite at the level of versatility, comparisons could be made to Mike Patton's polypolar vocals but Brock manages to find the emotional spaces Patton never quite attains. 'Parting of the Sensory', 'Florida' and 'Missed The Boat can be filed next to their other masterwork songs and while the restless energy remains intact, this is now a band working on a whole different level.

What We're Diggin' on the Box

So this will be a weekly/fortnightly feature on all the new, old and somewhere inbetween shows that we are taking in at any given time. It aims mostly to just give you all rundown of what's out there at the moment and maybe get you all watching something new every now and again.

Heroes: What an arc Heroes has taken. It begins with the season's most blistering and intruiging pilot, blowing off the collective socks of our household and giving us reason to tune in for the season. It then slogs through 19 serviceable episodes of television, never rising above being just entertaining before, low and behold, episode 21 hits. The episode set 5 years in the future, it left us giggling messes of adoration for a show we nearly dumped not too long ago. The characters have got interesting again, especially the morally shaky Nathan Petrelli (can fly) and his uber-powerful brother Peter (can absorb other powers). It all building to a climax which better not ape Watchmen but will be hugely entertaining. Its ended up saving itself and at least going someway to justifying the hype.

The Sopranos: This took a sinister turn this week with Christopher finally coming back into focus and causing havoc while off the wagon. Michael Imperioli may never get away from his fantastic character in this but what a role to live on. Still though, James Gandolfini astonishing performance rules the roost and the seething tension building between him and basically everyone else is starting to come to a head with only 5 episodes to go. As it builds and builds, this could well end in a bloodbath but however it ends, it seems likely this will become the first show I've ever experienced to have never, never made a bad episode. Peerless.

The Colbert Report: Not on over in the U.K so I've only just got into this but I'm loving every moment. Stephen Colbert can start to place himself alongside Jon Stewart as the comic voice of political reason in America.

Life On Mars: About to get an American pilot made, this fabulous British series ended on a daft but wholly satisfying note a couple of weeks ago. It lived and died on its concept but the performances were good enought to justify its existence throughout. While John Simm does his best ever work, he's blown off the screen by Phillip Glenister as the Sweeney-in-one DCI Gene Hunt whose outbursts grow funnier and ever more un-PC by the episode. One for all those with prejudice against British shows to sit down and watch and then wipe the egg off their faces.

The Office: The climax next week promises much heartache and loveliness but more than anything else, despite the Jim/Pam storyline, this is just hands down the funniest show on television. When you have a cast of over 10, all of whom get regular laughs, you are doing something right and still, Steve Carell outshines them all. The man is the unimpeachable King of Pathos Comedy. All hail The Office!

Battlestar Galactica Season 1: I've begun my journey into the World of Battlestar and while I wasn't left a jittering mess on the floor by its brilliance, I did very much enjoy the sheer gaul of Ron Moore's writing, packing more into the first three episodes than most do across a whole season. Given this precedent he sets, the rest of the season's storylines can seem drawn out by comparison but the finale manages to be both heartbreaking, shocking and exciting all in the space of around 5 minutes while the infamous '33', episode 1, is one of the most relentlessly breathless pieces of television this side of 24. Season 2 apparently promises more but this will all be reported on soon enough.

Shows coming up in the rotation: Carnivale, Boomtown, Battlestar Season 2/3, 30 Rock, The Riches and more...

REVIEW: Patti Smith

Patti Smith - Twelve
Rating: 6.7/10

The High Priestess of Art Punk, arguably the creator of the Greatest Single Album achievement of the entire CBGB era. Patti Smith was, is and may well forever remain untouchably cool. Never has she streamlined that intense talent into anything resembling a pop record, nothing ever to compromise her original Rimbaud-quoting high art masterpieces. Now, past 30 years in the business, she has come as close as she ever has to making a true pop record, one filled with torch ballads and, yes, singing of the highest order.

Likely the stumbling block for many Smith fans will be the straightness of this covers set on which she tackles a host of warhorse songs from Dylan, Hendrix, The Stones and, most infamously already, Tears for Fears' 'Everybody Wants To Rule The World'. The latter is likely the weakest track here, an unexpectedly reverential treatment losing nothing of the original's fey attempt at political satire. A couple of others, 'Pastime Paradise' and 'Helpless' get by on the strength of the originals rather than Smith's own visceral imagination. 'Gimme Shelter' fairs better, partly due its status with the Rock canon and the reverence given to it. It is one of the greatest songs of all time yet Smith tackles it head on, ripping its machismo out to replace with future fear and pathos. Better even is Kurt Cobain's soul-warcry 'Smells Like Teen Spirit', reduced to its base elements and sung with a strength of voice missing elsewhere.

Its not her weakest album but it feels like a missed opportunity for Smith to blow away the competition with a matchless songbook and braver, more expermental lilt to her aims. As a reverential set paying tribute however, it stands strong and it worth investigation for those wonderful moments when Smith realises she has nothing to fear from these songs.

Patti Smith on Amazon.co.uk - 'Land' currently at £3.97 which is a ridiculous bargain.
Patti Smith on Amazon.com

Apologies and New Stuff Coming

Hello. I say this anxiously, sheepishly due to my astonishing lack of ability to keep up this whole blogging game. Its been six weeks since my last post and for this, I truly apologise.

Its just laziness I suppose, I have no excuse. It has been a busy last month or so with many gigs, much drinking of the unhealthy kind and turbulence at work so I suppose it hasn't been too easy to keep up but still, my fault entirely.

This is really just an apology letter so I won't keep it up for too much longer. What I will do is discuss what will be coming up on here very soon for all of you. First up, Music will be returning to the forefront after being pushed back far too much by film and television posts. Nothing wrong with these, and they will keep on coming, but Music will return. So below is everything planned at the moment for the blog.

Music: Album reviews of Bjork, Battles, Patti Smith, Rufus Wainwright, Wilco, The National, Feist, Blonde Redhead, Black Rebel Motorcycle Club, Rosie Thomas, Elliott Smith, The Twilight Sad, Modest Mouse and Kings of Leon. Also, there will be re-reviews of Grinderman, The Hold Steady (back catalogue too) and a few retrospective reviews of Built To Spill, The White Stripes and Eels. Also, Live Reviews of Cat Power, Deerhoof, Patti Smith and Modest Mouse.

Film: Reviews of Grindhouse, Spiderman 3, Zodiac, Lives of Others, Deliver Us From Evil, Old Joy, Andrew Bujalski's Funny Ha Ha and Mutual Appreciation, Disturbia and Bridge of Teribithia. Also articles on Sex and Violence in Films, How Utterly Execrable Eli Roth Really Is and Director Profiles including David Lynch, Terry Gilliam and Sam Raimi.

Books: Continuation of the 104 Challenge (which has slipped a bit but will come back kicking very soon).

Television: A comphrehensive rundown of all the new pilots and their pitches and a special look at the offering from HBO and Showtime. The End of the Sopranos and My Journey into the World of Battlestar Galactica.

So see you all soon, I hope.

REVIEW: 300 (Possible Spoiler)

Could not have been anticipating this more. The trailer alone could have sustained enjoyment for at least the first half. The pulsating NIN track over gold-tinted sex and violence and a host of well delivered lines of cock-waving dialogue from Gerard Butler. How could it fail? The difficulty in my enjoyment of it and likely many others, is the knowledge that is director Zack Snyder is to helm the long-awaited adaptation of Alan Moore's seminal, untouchable comic Watchmen, widely considered the finest graphic novel ever created. It genesis has been troubled to say the least but finally its being made and with this lad on board. So could Snyder take Frank Miller's story of the Spartans vs. Persians and create and minor masterpiece blend of ultra-violent comic book storytelling and historical epic.

To be honest, its a double edged sword answer to that one. Reviews of the film had angered members of the Platt staff as much of the critical chargrin centred around the historical inaccuracy of the film; the actual number of Persian only allegedly in the hundreds of thousands, Butler's Scottish brogue and the use of grotesque monsters throughout the battles. If you are coming in to this expected a meeting of The History Channel and Sin City, walk away. We didn't expect that at all from the film and that likely would have hindered enjoyment had our historical brains been forefronted. However, in defense of those critics, Snyder does fumble on his tone and we flit between beautifully rendered action sequences splattered with blood and (slightly overused) slo-mo and worthy talky bits where characters are never fully fleshed out. Snyder seems uninterested in these moments and while you can't fault a film like this on accuracy, you could argue its failed attempts to bring pathos and standing harm its overall sense. When the fighting is going on, its utterly beguiling. Synder certainly has a gift for creating excitement during the battles and the film is sustained by the Spartan army crushing the Persians with the glee and viciousness of prime action movie stars. Butler does well as Leonidis, getting across his nobility and bravery superbly. Dominic West (The Wire) as Theron oozes traitorous sleaze but is underused and underserved by a weak script during the scenes back in Sparta.

The problem is that its about as shallow as a Hilton and fluffs the moments it needs to get right. You leave feeling utterly taken back by how little you know you will remember tomorrow. Depth is non-existant, with only Butler managing to bring anything approaching it to his character, you at least feel something at his demise. The problems in adapting Miller crop up again too (weak dialogue, gratuitous nudity, a completely pointless 'rape' scene) but where in Sin City they felt fine due to the subject matter and pastiche elements, here they feel heavy-handed and fail the movie. I won't deny the entertainment value of 300 though and it is a brilliantly made film, promising at least that Synder will make Watchmen look great. But we need some depth from him or its likely the internet lynch mobs will form baying for his blood. On its own merits 300 is fine if forgettable blood-stained fluff and worth a watch.

Film: 300
Director: Zack Snyder
Plattenspieler Rating: 6.3/10

REVIEW: Kaiser Chiefs

ARTIST: Kaiser Chiefs
ALBUM: Yours Truly, Angry Mob
LABEL:B-Unique

PLATTENSPIELER RATING: 7.0/10



The first really big release of the year commercially, much rests on this one. Opening single 'Ruby' blasted into the upper echelons of the charts and its chant-pop thrills weren't lost on me. I am in fact a fan of this lot. Not a huge one, but half their first album was utterly fantastic. Thats the problem though, only half of it. The singles were all breathless post-Britpop stompers and all deserved their indie disco ubiquity. But the rest was true filler and spoiled the broth.

This time around, we're promised beefed up sounds and a more complete record than last time and it looks as though that's been achieved. 'Ruby' is a stormer, bouncing and singing along all over the shop but they continue the hot streak with 'The Angry Mob' and 'High Royds', both finding the midpoint between Blur at their most Kinks-y and Pulp in their populist pomp. The tunes are sprinkled so liberally throughout, you can barely believe the proliferation of moments that, by listen two, you are singing along to. The big problem, along with a few bits of substandard Oasis-lite filler, are Ricky Wilson's lyrics. His odd style of inverting certain sentences sounds primary school like in its naivety causes the songs to lose their power. Sometimes it works, lending a sing-a-long simplicity to the tracks but mostly, it brings it down.

No blockbuster then, not going to fire them into Oasis levels of fame. But another serviceable piece of blistering rock and pop for the masses to gobble up.

REVIEW: Grinderman

ARTIST: Grinderman
ALBUM: Grinderman
LABEL: Anti-

PLATTENSPIELER RATING: 6.4/10



Nick Cave is on a hot streak. No doubt about it. The antipodean King of Baritonal misery has been in rude health, not only producing a magnum opus in Abattoir Blues/Lyre of Orpheus, but writing one of last years finest films, the bloody, brutal outback revenge western, The Proposition. This is perhaps a little bit of a day off for him from keeping up this astonishing run of form. Grinderman is a bar band formed of Cave and a few friends, seemingly made to simultaneously evoke his days in Birthday Party and their dirty post punk and let him cut loose, deliver a host of good fun party songs in his own inimitable style.

It begins however with the angry, blustery 'Get It On', combining spoken intonations and thumped piano chords into a confrontational form of muscle blues. The guitars are crunchy and fuzzed beyond recognition and Cave barks the lyrics with a poetic howl akin to Swordfish-era Waits. '(I Don't Need You) To Set Me Free' is more conventional, recalling Cave's Bad Seeds in its ominous atomosphere and stabbed guitar. 'Death Charge Ethel' then brings in harmonies into its abrasive, thrashing Stooge-isms. As you settle into this mood of uncompromising blues rock, it becomes a fairly dull performance, combining Waits-lite spoken pieces with more garage dirt. The best moment comes on the evocative, simplistic emotion of 'Man on the Moon' where Cave opens up the heart in the way he used to on his finest records.

By no means The Boatman's Call, but no embarassment, this is a diversion into a heavier Cave but you feel, without his Bad Seeds to frame his tales, he seems a little at odds with the World.

TV at the moment

So we've been meaning to keep up with writing about TV so this is the guilty result of such inactivity. Here, I'm just going to give you all a rundown of the current TV shows I'm watching and also anything I've just got into on DVD or download:

Heroes: I cannot understand the hype this show gets and the immense critical and commercial receptions its enjoying. This is mainstream television for sure and is both relentlessly expensive and at times, retarding in both writing and outlook. Characters appear purely for exposition sequences, yet again pissing on the audiences' intelligence. The voiceover is intensely irratating and the lack of ability to imply without explaining everything happening in a scene makes me want to rip it to shreds. Yet, week after week, I come back. I have an explanation. Concept. Heroes, like Lost and 4400, run on great concepts that, if used well, could prove truly incredible in television terms. I may feel bad everytime I watch, but hopefully, with the introduction of a few good writers and better character development, this could be the best thing on TV.

Lost: Disappointing at the moment but building up steam again. Should prove a winner in the end but needs to wake up out its lull to get things moving again. Also, very tired of Kate flip flopping between Jack and Sawyer. The writers need to understand that you can't have a strong female lead if she's just incessantly deciding which boy she likes.

The Office: The best sitcom on TV right now and so far, utterly flawless in its execution. Its finest asset remains Steve Carell, just the finest comic actor of his generation right now. But the supporting cast do such justice to every script that you cannot fail but be in hysterics at the perfectly written plotting and punchlines.

Ugly Betty: A truly awful show in some respects but blessed with a sense of fun and a heart missing from so much popular television. Deserves attention mainly though for America Ferrara's brilliant lead performance, possibly the most likeable character we have around right now.

Rescue Me: Just watching the first season of this and it is really quite good. A few moments fall flat here and there and the religious moments reak of a sentimentalism this vicious show is better than. Denis Leary is brilliant in the lead but its the entire mood of cynical, true heart that makes this such a fascinating experience. Nothing else has quite explored 9/11 with such a degree of unsentimental, human emotion and it should be applauded for that. Also, like The Sopranos, it a just fabulous title sequence that puts you perfectly in the state of mind to enjoy the show.

It's Always Sunny In Philadelphia - What a show! I can't believe I missed this horrific, misogynistic portrayal of pure assholeness first time round. This is Seinfeld packed up with booze and spunk and its protagonist's astonishing behaviour represents the finest angry comedy on TV. Brilliant.

The Shins @ London Astoria

I cannot tell you how much I had looked forward to crossing this one off the list. Along with a variety of other acts including Radiohead, Tom Waits and Arcade Fire, The Shins were a band I needed to see before I died. Their three records, including the darker, eloquent Wincing The Night Away are amongst my favourites of the millenium so far with Chutes Too Narrow as perfect a song cycle suite of anglophile indie as you will ever find.

This show, at the historic and still ridiculously overpriced Astoria, was part of the NME Awards tour so we got four bands for our money. First up was Alberta Cross whose set we partly missed but who appear to peddle a familiar if well executed form of modern, folkish indie. Their final song though was an elegant sweep that marked them out as an interesting prospect.

Next up, excitingly, was Voxtrot. Heavily touted on the blogosphere and blessed with the finest single of last year in 'Mothers, Sisters, Daughters and Wives', they were a huge disappointment. It wasn't entirely their fault; the guitars were nowhere in the mix so all their outstanding, stabbing guitar motions that punctuate their best work were lost in the mire and the whole set lost its teeth. It ended up a vaguely embarrassing set characterised by Ramesh Srivastava jumping around in a truly weak fashion to try and give the proceedings a little brashness. On record, they're wonderful. Live, just horrendous. They have much work to do.

Polytechnic are hotly tipped indie rockers over here but seemed to be unsure of where their strengths lay. Their songs were all just slightly too long while they never quite gave any reason why they should be given any precedence over any other modern indie acts peddling melodic guitar lines and 'quirky' voiced pop. 'Cold Hearted Business' is a pleasant enough single but just not enough personality on show.

The Shins come on to quite a degree of love being flung their way. They pepper the set with songs from accross their three brilliant albums and not a moment falls flat. The sound again isn't quite right but they fight through with charisma and stage craft, clattering through their up tempo material with more muscle than could have been expected. 'Phantom Limb' provides an early highlight along with opener 'Sleeping Lessons' while most of Wincing The Night Away sounds full and confident. 'Kissing the Lipless' is strident and crisp, even inspiring a short jam at the end, the evening rockingest moment. 'New Slang', while rendered poorly in a Band-like country roll is still a just immense song while 'Caring Is Creepy' tears the house down with its fuzzed drive. A couple of missing masterpieces ('Young Pilgrims' & 'Fighting In A Sack') annoy but mostly, its expertly played and as charming as ever. They remain amongst my favourite acts although seeing them at a smaller, less irratating venue would likely prove a more fruitful experience.

Alberta Cross myspace
Voxtrot myspace
Polytechnic myspace
The Shins

UPDATED: Albums of the Year

So it has take far too long to do this and I apologise but my albums of the year have slightly changed. For this, I am sorry. Anyway, so here is the final list of my Top Ten albums of last year without explanation and I again apologise for this.



1. The Hold Steady - 'Boys and Girls In America'
2. Tom Waits - 'Orphans: Bawlers, Brawlers and Bastards'
3. Cat Power - 'The Greatest'
4. Joanna Newsom - 'Ys'
5. Guillemots - 'Through The Windowpane'
6. The Flaming Lips - 'At War With The Mystics'
7. Wolfmother - 'Wolfmother'
8. TV On The Radio - 'Return To Cookie Mountain'
9. The Decemberists - 'The Crane Wife'
10. Casiotone For The Painfully Alone - 'Etiquette'

Look forward to more reviewing in the future too with Arcade Fire, Grinderman, Kaiser Chiefs and Modest Mouse all in the chair very soon. Love y'all!!!

So yes indeed, the wonderful and lovely Beth has yet again won the Oscar Predicting competition. And not just won either, truly opened up a can of whoop up in here!!

I've only briefly tallied them up but I believe I came last with 7 correct, followed by Tom with eight. Beth however, got 12 categories right!! This, I believe, is a new record so well done to Beth on that one.

It wasn't a hugely surprising night, although I really didn't think The Departed would take home the gong for Picture. Even so, its a worthy winner and its great to finally see Scorsese get his Oscar for a genuinely wonderful moment in his career. A few have obviously begun a backlash saying this one was given to him as owed goods but I would dispute that. The Departed is a true auteurist piece from the Great Man, exploring many of the key thematic concerns his best work has had at its heart. Its great to see him finally take home the prize and he deserved it thoroughly.

The only other vague surprise was Melissa Etheridge taking home best song over the three Dreamgirls nominations. Otherwise, fairly solid night.

We are starting a new feature now called Personal 66. In it, folks get to choose their favourite albums, songs, books, comics, DVDs, films and then three personal items. We have no reason to do this and it won't go towards anything, but who cares. Let's do it anyway. First one should arrive within the next few weeks along with a fuller indication of the rules.

Another year down then, and fun it was too. Later everyone. xoxoxo

My Oscar Predictions!

So finally the time has come. It all comes down to these. Myself and The Beth will predict the Oscars for you and next week, a winner will be decided from the three of us (McGuyver included).

Me/Beth

Best Picture – Letters From Iwo Jima / The Departed

Best Director – Martin Scorsese for The Departed / Same

Best Actor – Forest Whitaker for Last King of Scotland / Ryan Gosling for Half Nelson

Best Actress – Helen Mirren for The Queen / Same

Best Supporting Actor – Alan Arkin for Little Miss Sunshine / Djimon Hounsou for The Blood Diamond

Best Supporting Actress – Jennifer Hudson for Dreamgirls / Abigail Breslin for Little Miss Sunshine

Best Adapted Screenplay – Children of Men / Notes on a Scandal

Best Original Screenplay – Pan's Labyrinth / Babel

Animated Feature Film – Cars / Happy Feet

Art Direction – Pan's Labyrinth / Dreamgirls

Cinematography – Children of Men / Pan's Labyrinth

Costume Design – Marie Antoinette / Same

Documentary – Deliver Us From Evil / An Inconvenient Truth

Film Editing – Babel / The Departed

Foreign Language – Pan’s Labyrinth / Lives Of Others

Make Up – Pan’s Labyrinth / Same

Score – Pan’s Labyrinth / The Good German

Song – ‘Love You I Do’ from Dreamgirls / Same

Sound Editing – Blood Diamond / Letters From Iwo Jima

Visual Effects – Superman Returns / Dead Man’s Chest

So there we go!!!!!! See you on the other side!