Best Picture

Nominees

“Avatar”
“The Blind Side”
“District 9”
“An Education”
“The Hurt Locker”
“Inglourious Basterds”
“Precious”
“A Serious Man”
“Up”
“Up in the Air”

Who will win?

Paul Johannet: “The Hurt Locker” (A guess, as I’m guilty of having not seen it).
Alex Terrono: It’s down to “The Hurt Locker,” “Avatar” and “Inglourious Basterds,” but “Hurt Locker” will pull out the win in the end.
Davis Sargeant: “The Hurt Locker.”
Andrew Senter: “The Hurt Locker.”
Percy Olsen: “The Hurt Locker.” I feel so unoriginal, but then again, why fight it?

Who should win?

Paul: Rather than who should win, I’ll pitch a controversial who should NOT win: “Avatar.” This visually enchanting behemoth’s financial success has launched James Cameron into the ranks of creative directors completely void of narrative ability. George Lucas was at the initiation ceremony.
Alex: Well, in MY opinion, “Avatar” is a work of cinematic genius. It is beautiful, engaging and creative. “Avatar” for the win!
Davis: Before I saw “The Hurt Locker,” I thought of the war in Iraq as an abstract political issue. This movie should share a shelf with “All Quiet on the Western Front,” “Saving Private Ryan” and “Apocalypse Now” as a compelling examination of emotion in war.
Percy: Look, I don’t know if it’s the best movie the year, but I really, really, really want “Inglourious Basterds” to win. If you just size up the movie based on general traits (World War II epic, maybe a smidge of biopic), then it should win. But clearly, anyone who actually saw the movie will tell you it is so much more than Oscar bait. The more I think about the nominees, the more I want “Inglourious Basterds” to take it.
Andrew: There is a small part of me that wants “The Blind Side” to win. Why? So I can permanently disregard the Oscars and every terrible movie they decide to name “Best Picture” because it is popular. Or has Sandra Bullock in it.

Best Actor

Nominees

Jeff Bridges, “Crazy Heart”
George Clooney, “Up in the Air”
Colin Firth, “A Single Man”
Morgan Freeman, “Invictus”
Jeremy Renner, “The Hurt Locker”

Who will win?

Andrew: Jeff Bridges, “Crazy Heart.”
Alex: Jeff Bridges is on a roll that no one can stop.
Percy: It’s gotta be Jeff Bridges.

Who should win?

Alex: Colin Firth shines in “A Single Man” in an emotion-packed, beautiful performance. Recognize!
Andrew: Jeff Bridges, who transforms what should be a Lifetime “movie of the month” into a memorable story about music and the perils of alcoholism, should take it.
Percy: Not to take anything from Bridges, but George Clooney was absolutely fantastic in “Up in the Air.” I would be incredibly surprised if he wins this year, but then again, I’d also be a little happy.

Best Actress

Nominees

Sandra Bullock, “The Blind Side”
Helen Mirren, “The Last Station”
Carey Mulligan, “An Education”
Gabourey Sidibe, “Precious”
Meryl Streep, “Julie & Julia”

Who will win?

Alex: Sandra Bullock will no doubt pull this one out. She’s the whole reason the film got nominated for Best Picture, so obviously the Academy loves her. Plus, the movie was the first female-driven film to cross $200 million. She made that happen.
Percy: Did you know that she said she was unhappy with her performance in “The Blind Side”? There should be some stipulation that you have to approve of your performance to win an Academy Award. Unfortunately, there isn’t, and she’ll take it.

Who should win?

Alex: I don’t care what anyone says, Zoe Saldana should win this award for “Avatar.” Even though she didn’t really appear on screen, her performance did, and it knocked my socks off.
Percy: Really, Alex? Zoe? Put your socks back on, this should go to Meryl Streep. Her winning percentage (two wins for 16 nominations) shows that she is consistently underappreciated.
Alex: Underappreciated? Really? 16 nominations later…

Best Supporting Actor

Nominees

Matt Damon, “Invictus”
Woody Harrelson, “The Messenger”
Christopher Plummer, “The Last Station”
Stanley Tucci, “The Lovely Bones”
Christoph Waltz, “Inglourious Basterds”

Who will win?

Paul: Christoph Waltz.
Alex: Without a doubt, Christoph Waltz.
Andrew: Christoph Waltz.
Percy: Agreed, it’s Christoph Waltz. Man, just writing that gave me chills.

Who should win?

Andrew: Waltz gives one of the most riveting and horrifying performances of the year.
Paul: Putting aside the ethical pitfalls of “Inglourious Basterds,” Waltz was brilliant. He colored the sadistic, cunning interrogative approach of Col. Hans Landa. Without sacrificing Landa’s perceptive abilities, Waltz made his character surprisingly inhuman, even for a Nazi.
Percy: Matt Damon really brought the goods in “Invictus”—he should win if the Academy has any sense. Nah, I’m just kidding. Waltz.
Alex: I’m going to go off on a limb and say that Harrelson should win.

Best Supporting Actress

Nominees

Penelope Cruz, “Nine”
Vera Farmiga, “Up in the Air”
Maggie Gyllenhaal, “Crazy Heart”
Anna Kendrick, “Up in the Air”
Mo’Nique, “Precious”

Who will win?

Alex: Mo’Nique had this in the bag in September.
(Silence)
Alex: So no one’s going to argue?

Who should win?

Alex: Anna Kendrick really shone through in “Up in the Air.” She was my favorite part of the movie.
(More silence)
Alex: Seriously, guys?

Best Animated Feature

Nominees

“Coraline”
“Fantastic Mr. Fox”
“Princess and the Frog”
“The Secret of Kells”
“Up”

Who will win?

Paul: “Up.”
Alex: “Up” is a Best Picture nominee, enough said.
Andrew: “Up.”
Percy: “Up,” and it won’t be close.

Who should win?

Paul: “Up.” The film begins with a 15-minute montage of truly beautiful storytelling showing the relationship of Carl and Ellie.
Alex: Pixar can’t go wrong, and “Up” is no exception. It is beautifully made and completely adorable.
Andrew: The best picture nomination says everything.
Percy: But I don’t think we can forget about “The Princess and the Frog.” Yes, “Up” was the better movie, but Disney’s first hand-animated film in years dazzled, while bringing back a flood of childhood memories about “The Lion King” and “Aladdin.” It even made me have an emotional moment (and I’m not keen to admit that.) “Up” deserves it, but wow, that is some tough luck for “The Princess and the Frog.”

Reality shows fill up my time and schedule with reason: They make me laugh, gasp and cry (not really). I love reality shows because they are entertaining without being pretentious. They know what they are, and they don’t pretend to be anything different.

I should clarify, though, which reality shows I’m talking about. I don’t like the traditional, super-popular ones like “American Idol,” “Survivor,” “Dancing with the Stars” or “The Amazing Race.” I prefer the shows that follow around “real people” or celebrities as they lead whatever lives they lead. “The Hills,” “The City” and “NYC Prep” exemplify my favorite type of reality show. We as the viewers get a window into the lives of these people we don’t know. We’re like flies on their walls, however real the shows actually are.

Then there are MTV’s staple “Real World” and its semi-spin-off “Jersey Shore,” which place random people into a house to see how the different (or very similar) personalities interact with one another. These shows are always certain to bring the drama, because, well, the producers make sure of it. They overreact about everything, and I love it! There is nothing better than a fight between two housemates about something as pointless as refusing to clear a plate.

That’s not to say that I don’t enjoy any competition shows, because I certainly watch “America’s Next Top Model,” “Project Runway” and “Making the Band” on a regular basis. The difference is that aside from just seeing their performances, we also get to see their lives in the house, which again adds drama.

For me, reality shows are really all about the drama. Well, that and laughing at the ridiculous people who take themselves completely seriously. While many people call the cast members of “Jersey Shore” despicable, I take enjoyment from their ridiculousness and complete confidence in what they are doing. Never once does Snooki question her method of eating pickles, while Mike “The Situation” insists on lifting up his shirt no matter what people say. There is nothing for me to do but sit there and laugh.

The problem with reality shows is that some people take them too seriously. Yes, some are meant to be serious, like “Extreme Makeover: Home Edition” or “American Idol.” I, on the other hand, like to recognize them for their entertainment value and leave the highbrow art to other shows like “Mad Men.” Just because a show doesn’t have “substance” doesn’t mean you can’t sit and laugh yourself silly.

First, I have to admit that the plotlines of these movies leave something to be desired. The dance movies are the pinnacle of the underdog story line. At least one dancer is ridiculously talented, but isn’t getting the respect he deserves. The dancer then works his or her way up, eventually achieving whatever goal for which he was striving. Yes, this story line might be cheesy or overused, but it is certainly inspirational and engaging. No matter how many movies have this same exact plot, people will watch and enjoy them. I will always be one of those people.

One of my favorite parts of these dance movies is the music. Usually comprised of hip-swaying, booty-shaking hip-hop/R&B songs (with one or two ballads for good measure), the soundtracks to these movies are top-notch. Just as they get the protagonists up and dancing, they will be certain to force you out of your chair and onto the dance floor. The “Step Up 2: The Streets” soundtrack alone featured Flo Rida’s No. 1 single “Low” and two Missy Elliott rump-shakers, “Ching-a-Ling” and “Shake Your Pom Pom.” Its predecessor housed Ciara’s hit “Get Up,” along with club-bangers from Yung Joc, Petey Pablo and Kelis. In truth, these soundtracks (namely “Step Up” and “Honey”) are my favorite soundtracks ever; I like to move.

The dancing stars who grace the screens of these movies also never disappoint. “Honey,” for example, stars Jessica Alba as the eponymous character who tries to cement herself in the hip-hop music video world as a dancer and choreographer. Let’s face it: Alba is hot. She has topped numerous lists proclaiming just that, and “Honey” was her first big role. Without it, who knows where she’d be. The same film also stars Mekhi Phifer from “8 Mile,” Lil’ Romeo, Joy Bryant and Missy Elliott, all of whom only improve the film. Similarly, “Step Up” launched the career of eye-candy Channing Tatum, who is now a bona fide film star, having half-carried the new movie “Dear John.”

Of course, the most important part of the dance movie is the dancing. That is, in fact, the point. Without the dancing, there would really be no point—I admit that. I would have no interest in any of these movies without the promise of some killer dance moves. With each choreographed routine, my heart skips a beat. Every time a dancer does a flip in the air, my soul does one to match. The dances are exhilarating, explosive and extreme. Talented (and attractive) dancers dance awesomely choreographed routines to high-energy hip-hop songs. If that’s not enough to entertain you, then I don’t know what is.

“Honey” and “Step Up” are just two in a series of entertaining, heartening, groove-inducing dance films. They star hot actors, hot music and hot moves, but most of all, they inspire. The stories themselves inspire as the underdogs climb their way up the professional ladder, while the dances inspire in other ways. After each movie, I wish for nothing more than the ability to dance just like Channing Tatum or Lil’ Romeo. While I have never actually followed up on those feelings, I will always be inspired nonetheless. It’s this inspiration that really propels these movies to the top and makes them the quality movies that they are.

MCT

The first time I saw a preview for the new movie “Dear John,” I wondered why they would name a supposed love story the term used for break-up letters. All throughout the preview, the main female character, Savannah (Amanda Seyfried), writes letters to her army boyfriend John (Channing Tatum), all beginning “Dear John.” As could be expected, the title—and the use of this line—foreshadow a major plot point.

Rewinding back to the beginning, the movie starts as John meets Savannah on a beach in North Carolina, while she is on spring break from college and he is on leave from the Army. The two have an intense love-at-first-sight, two-week romance, after which they go back to college and the Army, writing numbered letters back and forth. After 9/11, John decides to re-enlist into the Army, devastating Savannah. A while later, she stops writing to him, leading up to her real “Dear John” letter. After the letter, the story continues to unfold its twists and turns, leading up to a fairly predictable romantic-movie ending.

Being someone who has seen parts of Nicholas Sparks’ (the writer of the book that inspired the movie) biggest hit movie, “The Notebook,” I wasn’t expecting much out of this one, except maybe some unintended laughter. “Dear John” managed to exceed those modest expectations by a few baby steps. The plot of the film was predictable, over-dramatic and cheesy. The script was equally dramatic and sappy but wasn’t as awful as would be expected.

One aspect of the film that was surprisingly good was the acting. It’s true that Seyfried has already proven that she can act well, as she does in “Big Love.” For her, it wasn’t as much of a surprise that she could successfully bring her character to life without being over-the-top. Tatum, on the other hand, had not previously shown any of his real acting skills, appearing in “Step Up” and “G.I. Joe.” He was much more convincing in the romantic lead role than I had thought he would be. He shows that he is more than just dancing, gun-slinging eye candy; he is a real actor.

The movie itself is also unexpectedly well made in its cinematography and editing. It may not be award-worthy, but it is certainly artistically driven, a feature not usually seen in romance movies. Also positive is its inclusion of intense emotional issues, like war, cancer and Asperger’s syndrome. By far the most emotional of these stories is the subplot of John’s father, a coin collector who lives by a strict schedule. When Savannah tells John that she thinks his father has autism, he overreacts, reverting back to his violent past. As the film continues, John comes to terms with what Savannah says and tries to help his father any way he can, a storyline which really allows Tatum to show some of his acting range.

“Dear John” is not bad, by any means. It is entertaining, well acted and well shot. In no way will it be everybody’s cup of tea, but its sappy love story isn’t overpowering enough to turn most away. In the end, the movie is what it is supposed to be: a dramatic “chick flick” that will no doubt have some viewers in tears.

Rating: 3/5
Directed by: Lasse Hallström
Starring: Channing Tatum, Amanda Seyfried

Oscar nominations were announced Tuesday morning with only a few surprises. Unfortunately, none of the potential nominees that I made cases for actually made the cut, but one of my “Also considers” made it in: Maggie Gyllenhaal for Best Supporting Actress in “Crazy Heart.”

By far the biggest surprise nomination was “The Blind Side” for Best Picture, thankfully displacing assumed nominee “Invictus.” This nomination for the inspirational football film was fairly logical, given the large support for its lead performance by Sandra Bullock and the amount of money that it has made in the box office. “A Serious Man” also made it into the top 10, ousting “Star Trek,” although those two movies were already fighting for that spot.

Another surprise came with an Adapted Screenplay nomination for “In the Loop,” a little-known but hilarious comedy. It’s surprising that “Fantastic Mr. Fox” didn’t snag a nom, but hey, “Loop” is deserving.

Overall, “Avatar” and “The Hurt Locker” lead with the most nominations—nine each, including Best Picture. Following closely, “Inglourious Basterds” managed eight nominations, while “Precious” and “Up in the Air” each got six. All three of these films were nominated for Best Picture. In addition to those already mentioned, “Up,” “An Education” and “District 9” were also nominated for Best Picture.

For a full list of nominees, be sure to check out www.oscar.com.

Best Supporting Actor

Most likely nominees:
Matt Damon (“Invictus”), Woody Harrelson (“The Messenger”), Christopher Plummer (“The Last Station”), Stanley Tucci (“The Lovely Bones”), Christoph Waltz (“Inglourious Basterds”)

Please consider:
It is unclear to me why Peter Sarsgaard from “An Education” is not getting any attention. He is an entertaining and essential part of an extraordinary film. He perfectly embodies a carefree, selfish married man, who seduces a 16-year-old girl into falling in love with him.

Also consider:
Brian Geraghty and Anthony Mackie (“The Hurt Locker”), Matthew Goode (“A Single Man”)

Best Actor

Most likely nominees:
Jeff Bridges (“Crazy Heart”), George Clooney (“Up in the Air”), Colin Firth (“A Single Man”), Morgan Freeman (“Invictus”), Jeremy Renner (“The Hurt Locker”)

Please consider:
Fox Searchlight’s “Adam” went by fairly unnoticed this summer, most likely due to its very limited release. Unfortunately, this also meant that Hugh Dancy, who stars as the film’s eponymous main character, was passed by in the Oscar discussions. Dancy is phenomenal as a newly parentless man living with Asperger’s syndrome in Manhattan. He is emotional, riveting and Oscar-worthy.

Also consider:
Sam Rockwell (“Moon”), Ben Winshaw (“Bright Star”)

Best Supporting Actress

Most likely nominees:
Vera Farmiga (“Up in the Air”), Anna Kendrick (“Up in the Air”), Diane Kruger (“Inglourious Basterds”), Mo’Nique (“Precious”), Julianne Moore (“A Single Man”)

Please consider:
In playing a recent widow of a soldier, Samantha Morton is absolutely riveting in “The Messenger.” She gives an emotionally charged performance that is undeniably one of the best of the year.

Also consider:
Sigourney Weaver (“Avatar”), Maggie Gyllenhaal (“Crazy Heart”)

Best Actress

Most likely nominees:
Sandra Bullock (“The Blind Side”), Helen Mirren (“The Last Station”), Carey Mulligan (“An Education”), Gabourey Sidibe (“Precious”), Meryl Streep (“Julie & Julia”)

Please consider:
Some may not consider Zoë Saldana’s performance in “Avatar” a real “performance.” It is true that the digitally produced Na’vi character, Neytiri, is not strictly Saldana. It is, however, her emotions, facial expressions and voice that bring Neytiri to life. Aside from the amazing visual effects, Neytiri is one of the best parts of this movie. She drives the plot and holds the audience’s attention. While many complain about the plot of this film, it is Zoë Saldana who really brings the whole movie together.

Also consider:
Abbie Cornish (“Bright Star”), Emily Blunt (“The Young Victoria”)

Best Picture

Most likely nominees:
“Avatar,” “District 9,” “An Education,” “The Hurt Locker,” “Inglourious Basterds,” “Invictus,” “Precious,” “Star Trek,” “Up,” “Up in the Air”

Please consider:
If I had to pick one film to be added to the category, it would have to be the indie comedy “(500) Days of Summer.” While it may not be the typical Oscar movie, considering its lighthearted tone and lack of prestige, it has won a place in the hearts of many. “Summer” is cleverly written, original, cute, funny, irresistible and perfect, and the list could go on. Zooey Deschanel and Joseph Gordon-Levitt are captivating as the happily-never-after couple at the center of this jumbled not-so-romantic comedy. The movie shines as one of the gems of last year.

Also consider:
“Bright Star,” “A Single Man”

“Crazy Heart,” which tells the story of a washed-up country singer, has the power to turn the biggest country music detractor into its biggest fan. With its emotional performances and songs, this small film is able to make a big impact.

“Crazy Heart” stars Jeff Bridges as Bad Blake, a country singer who is past his prime. Instead of headlining arenas and selling millions, he is strumming his guitar in dive bars and writing songs for other artists (namely Tommy Sweet, played by Colin Farrell). After one of these dive bar performances, Bad meets with Jean Craddock (Maggie Gyllenhaal), who interviews him for a Santa Fe, N.M.-based newspaper. As the interview continues, Jean and Bad learn more about each other and, predictably, start a rocky relationship. As Bad continues to attempt a comeback, he has to try to make his relationship with Jean work and deal with his increasingly problematic alcoholism.

By far the standout of this film, Jeff Bridges has already received many accolades for his performance, having won both the Golden Globe and Screen Actors Guild awards. The actor made the film what it is. Without him, the movie would have just meandered along through a tired plot line. Bridges’ performance was captivating and emotional. He made it easy for us to sympathize with this otherwise unsympathetic character. Bad was a womanizing alcoholic whose career had all but disappeared, yet Bridges was able to inject him with life and make his turnaround believable.

Although not as riveting, the supporting performances were also very strong. Gyllenhaal’s turn as the divorced journalist with a 4-year-old son was powerful and emotional, while Colin Farrell proves his acting chops as the successful ex-protégé of Bad’s. What pushes this film over the top is the music, especially the Golden Globe-winning “The Weary Kind.” Even if you are not a country music fan, this music will speak to you. It is haunting, emotional and fun.

Frequently deemed this year’s “The Wrestler,” “Crazy Heart” does suffer from a lack of original plot. It tells the story of a down-and-out, previously successful performer who struggles to regain his prominence in the world. It may be the movie’s one downfall. That, of course, doesn’t mean that the movie isn’t entertaining in its own right. Thankfully, though, the performances and music do save it.

In the end, “Crazy Heart” is really Bridges’ film. His emotional performance pumps life into the overdone story. Gyllenhaal, Farrell and the music may not be as exceptional, but they certainly add spice. “Crazy Heart” is captivating, emotional and certainly deserves its accolades and your attention.

Most Potent Lager
And the winner is: whatever was in Ricky Gervais’ cup! Gervais was without a doubt the host with the most on Sunday night, but did he have an unfair advantage? The ridiculously British emcee was seen taking modest (read: tiny) sips from his glass throughout the night, but while introducing Mel Gibson, he blamed drunkenness for anything offensive he may have said. Let’s see: He had three hours to process a quarter of a drink. Something didn’t add up. Either Gervais had somehow stumbled onto James Cameron’s stash of Unobtainiweiser, or he was lying through his teeth. But I don’t think he was lying. That’s just what Cameron wants us to think.

Most Shameless
Remember how James Cameron called himself the “king of the world” after winning the Oscar for best director in 1997? Cameron still hasn’t learned humility in 2010, evidenced by the fact that he slipped into Na’vi language at the end of his acceptance speech. Come on, man. There are only two rules to making a good acceptance speech: 1) Be humble, and 2) don’t reference your own movie. There is something wrong with you.

Quickest Getaway
Gervais left in a hurry after introducing Mel Gibson. “I like a drink as much as the next man. Unless the next man…is Mel Gibson,” and zoom! He was gone. I think that traditionally, hosts are supposed to stick around thoroughly upending their guests, but I don’t blame Gervais for 86-ing convention and (presumably) hiding under the covers backstage.

Most Time-Warping Paradox
Mere minutes after Martin Scorsese spoke on the importance of film preservation and restoration, the Hollywood Foreign Press validated James Cameron’s foray into ground-breaking technology by awarding him the Golden Globe for Best Director and Best Picture. During Scorsese’s speech, the camera cut to Cameron but quickly cut away, because it looked like the speech was angering up his blood.

Most Nautical Dress
With apologies to Sandra Bullock, who chose to wear a dress that made her look like Ursula, the sea-monster, there was no other choice but Chloe Sevigny’s dress. It looked exactly like an axolotl, a Mexican neotenic mole salamander, which in turn looks exactly like a clump of seaweed. Speaking of Chloe…

Wardrobe Malfunction of the Night
Unlike the Super Bowl incident, there is no doubt that this wardrobe malfunction was entirely unintentional. As Chloe Sevigny walked on stage, her escort stepped on the back of her dress and ripped it. After an awful tearing sound, an aghast look and a bewildered comment (“I can’t believe he just ripped my dress!”), Chloe gracefully moved on with her thank-yous. Hopefully she won’t have to pay for that. Still speaking of Chloe…

Biggest Award Robbery
Don’t get me wrong. Chloe Sevigny is great in “Big Love,” and her award for Best Supporting Actress on TV was certainly deserved. Unfortunately, Jane Lynch in “Glee” was just that much more phenomenal and ultimately should have won. She is the best part of the show, and the Best Supporting Actress. She will, no doubt, get another chance at winning this much-deserved award.

Most Predictable Award
This one is a toss-up, but I think that ultimately “Up” winning Best Animated Feature wins. There wasn’t a doubt in anyone’s mind that this Disney/Pixar movie would win this category. Really, what could have beaten it?

Funniest Acceptance Speech
When Robert Downey Jr. accepted his award for Best Actor in a Comedy/Musical (for “Sherlock Holmes”), he jokingly took a negative tone in his speech. He started by blaming his wife for telling him that Matt Damon was going to win the award, which explains why he didn’t prepare a speech. He then took credit for the success of the movie. Even in all of his self-praise, Downey was able to mention everyone he needed to thank without having written a speech.

Wettest Acceptance Speech
Mo’Nique won Best Supporting Actress in a Motion Picture for “Precious.” Everyone knew she was going to win, except maybe her. When she took the stage, the comedienne-turned-dramatic actress couldn’t hold in her tears, as she proclaimed that her dream had come true. While it was a nice moment and certainly a deserved award, no one was surprised.

Rating: 3/5 stars
Directed by: Jim Sheridan
And starring: Jake Gyllenhaal, Natalie Portman, Tobey Maguire

A movie starring Jake Gyllenhaal, Natalie Portman and Tobey Maguire sounds promising. Add in a plot about a man comforting his “deceased” brother’s wife, only for the brother to come back, and you would think that you have a hit on your hands. “Brothers” has all of those attributes, but still somehow misses the mark. While the film is certainly engaging, it is a mixed bag at best.

After bailing his brother Tommy Cahill (Jake Gyllenhaal) out of jail, Captain Sam Cahill (Tobey Maguire) ships back to Afghanistan to do another tour of duty. While he is there, he is captured and held prisoner for months by terrorists. Unfortunately, back home, everyone thinks that Sam has died. In the aftermath of his death, Tommy visits Sam’s previously hostile wife Grace to help her with her kids and her kitchen. After the two grow closer, Sam is saved by American troops and returns home. He comes back psychologically damaged and paranoid about what has transpired between his wife and his brother.

Among the film’s chief problems is the script. There were many times throughout the movie when the lines just sounded awkward or out of place. Although it wasn’t a problem for the majority of the movie, the script’s weaknesses are painfully obvious.

Some of the acting, especially Maguire’s, is also problematic. At the end of the film, Maguire acted fantastically as a psychologically abused prisoner of war. But earlier on, remnants of this later persona made the shift less drastic and his earlier personality as loving husband and father less believable. Even before Sam went back to Afghanistan, he was cold and unrelatable. He didn’t seem to fit the personality we were supposed to believe he once had. He was already the empty shell that he later became.

Part of this was enhanced by the fact that in the beginning of the film, Maguire already had the gaunt look that he supposedly acquired as a result of his capture. This also plays into a minor, yet troubling aspect of the film: the timeline. Aside from the gaunt look, Maguire’s hair never grew. Not once in the months he spent as a hostage did his hair look much longer. His beard grew, but his hair didn’t. This may not be a major problem, but it is a concerning missing detail.

Aside from these issues, “Brothers” is a solid movie. The story is highly engrossing, and the acting is great (with the exception previously mentioned). Even with its problems, the movie will keep you interested from start to finish. There is certainly not a dull moment.

“Brothers” is a great idea that was unfortunately marred down by script and continuity issues. Ignoring these issues, though, you are left with a fine movie that will no doubt pull you in and hold you hostage.

On “The Fame Monster,” Lady Gaga uses her original formula (dance beat underneath catchy lyrics) but branches out into many new territories at the same time. The album’s first two singles, “Bad Romance” and “Telephone,” are by far the most recognizably “Gaga” songs. The songs are modern dance-pop filled with synthesizers and catchy lyrics galore. The former song, though it may be the first single, is probably the weakest song on the album. Of all of the songs, it took the longest amount of time to like. On “Bad Romance,” some of her singing is a little cacophonous and can therefore turn people off. That said, after a few listens, its catchiness is irresistible.

“Telephone,” on the other hand, is definitely one of the best on the album. It is high energy, club ready and, of course, catchy. Beyoncé features on this song as the only guest on the EP. The self-proclaimed diva leaves her runs and high notes at home, as she assumes her “Sasha Fierce” personality and swaggers across the song. She fits perfectly well in between Gaga’s verses, and the combination of two of today’s most popular superstars is hard to resist.

As on her first album, Gaga doesn’t only produce dance-centric tracks on “The Fame Monster,” but she also adds two slower songs that further diversify the album. The first, “Speechless,” sounds like a rock ‘n’ roll power ballad with its heavy piano chords and spare instrumentation. It is on this song that the eccentric singer really shows off her skills. She has a real voice, and she isn’t afraid to use it on this song, contrary to what many say about her. “So Happy I Could Die” is less of a ballad and more of a slow, peaceful, ethereal pop song. It is calm, collected and shows a different side of the energetic Gaga.

Elsewhere on the album, Lady Gaga changes up her style and takes us back to the 1980s with “Dance in the Dark” and “Monster.” These synth-heavy throwbacks manage to mix the modern dance beats with the ’80s sounds. “Monster” is not as danceable as some of her previous hits but is still high energy enough to get people moving. As usual, the song’s lyrics are catchy, if not extremely confusing, as Gaga sings about a guy who “is a monster:” “He ate my heart, and then he ate my brain.”

By far the strangest song, though, is “Teeth.” This song is reminiscent of a southern saloon song with its heavy, continual bass drum and sleigh bells. Throughout the song, Gaga demands that her guy show her his teeth. While the song’s meaning isn’t clear, there is no doubt that Gaga is heavily referencing vampires throughout the song (“Help, need a man now, show me your fangs”). While “Teeth” is definitely a strange, out-of-this-world song, Gaga pulls it off like only she can.

After a slew of club-ready hits produced by RedOne, Lady Gaga released “The Fame Monster” EP, which shows just how versatile she really is. While she has certainly become an icon, she is more than just that or a one-trick pony. She can sing ballads just as well as she can sing catchy dance-pop. She is undeniably creative, she can make whatever music she feels like, and she can do it better than most.

Rating: 4.5/5
For fans of: Britney Spears, Madonna, Ke$ha, Cascada
Tracks to download: ‘Telephone’, ‘So Happy I Could Die’, ‘Monster’