By John C.

With the Oscars just under a week away, it seems like the perfect time to offer a more in-depth look at the 10 films competing for the highest honour of Best Picture.  We’ve previously reviewed five of the ten, and eight of them even got a spot on my list of the best movies of last year.  Over the next week we’ll be offering actual predictions and commentary on who should take home the awards in several top categories, so for all future reference, here are my brief thoughts on the ten films in the running for Hollywood’s highest honour.

Black Swan: At the heart of Darren Aronofsky’s riveting ballet thriller Black Swan, is Natalie Portman’s unforgettable performance as the emotionally tortured ballerina, Nina Sayers.  Cast as both leads in a season-opening performance of Swan Lake, her sanity is questioned as she is falls under the possible seduction of dance instructor Thomas (Vincent Cassel), and rival dancer Lily (Mila Kunis).  From the striking use of music and dance, which is captured brilliantly by the suitably gritty camera work, Black Swan keeps us mesmerized from first shot to fade out as Nina takes a head spinning swan dive into sheer madness.  And at its heart is the beautifully fragile Portman who grounds the film in its disturbing reality.

The Fighter: Dickie Eklund (Christian Bale) is a has-been boxer who’s since succumbed to drug addiction and is pinning his career hopes and dreams on his half-brother, Micky Ward (Mark Wahlberg).  Training in their hometown of Lowell, Massachusetts, Micky must rise above the expectations of his mother (Melissa Leo) and his girlfriend, Charlene (Amy Adams).  Working as both a moving family drama and a rousing sports movie, this is a complete package of powerful storytelling and outstanding performances from an excellent ensemble cast.  Bale’s supporting work deserves the highest praise, and The Fighter easily ranks among the best movies about boxing.

Inception: Cobb (Leonardo DiCaprio) is a master at the “not strictly speaking legal” practise of subconscious security.  Entering people’s minds and extracting their dreams, he is faced with his most dangerous mission yet when hired to perform an inception – where an idea is not stolen, but one is planted.  Inception delivers as an exhilarating and very satisfying piece of pop entertainment, but like director Christopher Nolan’s other work, this is a thought-provoking film that is unafraid of challenging viewers.  The visuals never cease to amaze, and the brilliant final scene that leaves the entire movie up to debate will be talked about for a very long time.

The Kids Are All Right: Jules & Nic (Julianne Moore & Annette Bening) are the ‘momses’ of teenaged children Joni & Laser (Mia Wasikowska & Josh Hutcherson).  When the kids track down their biological father, Paul (Mark Ruffalo), they discover a previously unknown part of their lives.  Paul shakes things up as he gives them the father they never knew, but threatens to tear apart their family.  I personally wouldn’t count this as one of last year’s ‘top ten,’ but with an interesting storyline, good script and excellent performances – particularly from Ruffalo at it’s heart – The Kids Are All Right is a strong entry into the genre of thought-provoking and entertaining indie efforts.

The King’s Speech: King George VI (Colin Firth) could not deliver a speech without stuttering, until seeking the help of unorthodox speech therapist Lionel Logue (Geoffrey Rush).  The King’s Speech beautifully portrays the relationship that develops between the two unlikely friends, and Colin Firth gives the best performance yet of his endlessly impressive career as he brilliantly captures the pain elicited by his stammer.  The final few scenes are some of the most inspiring and moving of last year, and the true story about overcoming social differences makes this triumphant period piece deserve all the awards attention it will get.

127 Hours: After a falling boulder pinned Aron Ralston’s arm to the wall of a crevice while exploring a canyon in Utah, he was literally trapped between a rock and a hard place.  Ralston remained alone for over 5 days, before amputating his own arm to save his life.  In 127 Hours, award-winning director Danny Boyle has brilliantly adapted Ralston’s story for the screen, and the results are thoroughly gripping.  At the heart of the film is a stunning performance from James Franco that ranks as one of the best in recent memory.  The striking visuals, raw emotion and undeniable power make this an endlessly moving and electric hymn to life.

The Social Network: In 2004, Mark Zuckerberg (Jesse Eisenberg) launched Facebook from his Harvard dorm.  The Social Network tells his story through flashbacks, as he is being sued by classmates claiming Facebook was born out of their idea to create a social website, and a more personal lawsuit from his former friend Eduardo Saverin (Andrew Garfield) who unfairly did not receive enough financial credit for his role in co-creating the website.  One of the finest thrillers ever made to never feature a single gun shot or explosion, David Fincher’s telling of the Facebook story is a quietly tense film that is anchored by excellent performances and a razor-sharp screenplay by Aaron Sorkin.  Although it arguably lacks some of the emotional resonance closely associated with several other contenders, this is a film of timely social relevance, and a brilliant one at that.

Toy Story 3: After many great years of playing with his beloved toys, including Woody (Tom Hanks) and Buzz Lightyear (Tim Allen), Andy is now 17 and heading off to college.  When the toys accidentally end up at Sunnyside Daycare after realizing that Andy may not be ready to say goodbye just yet, they set into motion an epic escape from the place where everything is not as it seems.  Toy Story 3 appealed to a new generation of fans, but its melancholy and endlessly moving themes of moving on and letting go ultimately hit home hardest with those who’ve grown up with the series.

True Grit: Outstanding newcomer Hailee Steinfeld plays the headstrong 14-year-old Mattie Ross in the western True Grit.  In an attempt to avenge the murder of her father, Ross enlists the help of drunken sheriff Rooster Cogburn (Jeff Bridges) and Texas Ranger LeBoeuf (Matt Damon), as they set out on a journey to bring the elusive Tom Chaney (Josh Brolin) to justice.  This Coen Brothers remake of the 1969 western that won John Wayne an Oscar is a complete package of excellent performances, old west violence and engaging dark comedy.  Throw in a touching and suitably sentimental epilogue, and this plays as a thoroughly satisfying genre classic from beginning to end.

Winter’s Bone: 17-year-old Ree Dolly (Jennifer Lawrence) is on a mission to track down her drug-dealing father, as their family home is at risk if he doesn’t show up for his trial in a week’s time.  Living in poverty and forced to take care of her younger siblings, she seeks the help of family and neighbours, despite constant warnings to stay out of other people’s business.  Lawrence nicely carries the movie, as does the supporting cast.  But despite the realistic view of a family living in poverty, I found few truly redeeming or emotionally connecting scenes.  Debra Granik’s Winter’s Bone is certainly an interesting effort, but for me it’s still the weakest film on this list.