Latest screening: Crazy Heart

What a breath of fresh air this film is. Crazy Heart works on every level. It's not that it screams originality - hell this format has been used time and again whether in last year's The Wrestler or other country-singer themed films like Tender Mercies and Honkytonk Man - but everything is firing on all cylinders here.

The story of washed-up alcoholic country-and-western singer "Bad" Blake the film is a gentle and funny tale. It shows the state in which Blake has gotten himself but he's not a tragic figure in the same way as say Mickey Rourke's Randy "The Ram". He is a man enjoying his life as best he can. He's been dealt some bum hands but he's playing with what he's got and seems to be enjoying the game. Then he meets a young journalist who starts to make him see what's wrong with the way things are more clearly. Like i said, nothing mind-blowingly original, but handled in a confident and engaging way by the writer/director, and it sweeps you along with ease, never dragging, never outstaying it's welcome. In fact if there's a criticism i would make of the filmmaking itself it's that sometimes it feels to move too swiftly. The film addresses Blake's alcoholism and realisation that he wants to do something about too quickly and neatly. Perhaps the director didn't want to give the world yet another "the trials of rehab" scene or a "struggles of recovery" moment, and that's fine by to mop it up and sweep it under the carpet the way the film does, does seem to be short-changing the audience that are on this journey with the character just a bit. Still, small complaint.

Jeff Bridges is stunning here. Bridges is always reliable but he excels here and i would say this is his best role to date. He hasn't inhabited the body of a character this convincingly since The Dude in The Big Lebowski and his "Bad" Blake feels as real as characters come. Whether singing on stage, writing songs, getting drunk or getting in over his head he never hits a wrong note. I haven't seen Morgan Freeman in Invictus yet but for my money Bridges trumps all the other actors this year and I hope he finally gets his due for this. It is a towering performance, at once both in your face and yet subtle. A masterclass in acting.

Maggie Gyllenhaal more than holds her own and deserves a best supporting actress nod, though it's a tough field in that category this year and i suspect Bridges performance may eclipse much of the rest of the movie. This would be a shame though. Here she is likeably believable in an understated way and without her balance of the main character the film would struggle more.

Colin Farrell and Robert Duvall are both solid in smaller supporting roles but neither is really in it enough to get any awards attention.

The photography, like everything about this movie, is beautiful; while the soundtrack of new songs is simply stunning. Bridges has a great voice for them and personally i plan to buy the soundtrack album for this one. It'll have you top-tapping and thigh-slapping in the aisles!

One of my favourite films of the year. An awards movie that is also just plain entertaining - which is all too rare - with great songs and excellent performances, including a career-best from Bridges. A must see.

Latest screening: Precious

A very good film with a stunning central performance (and some excellent supporting ones too) Precious could well be the "little" movie that makes it big this awards season. It seems almost certain that newcomer Gabourey Sidibe will be nominated for Best Actress - the performance demands it - and also that Mo'Nique will pick up a Best Supporting Actress nod (she's currently considered the favourite, though i'm still giving it to Julianne Moore for A Single Man), but this could easily find itself seriously conpeting in Adapted Screenplay, Director and even Picture categories.

It's not an easy film but curiously it stands out this year in a lighter-weight line-up amongst the strongest contenders. Even those that are dramatic (like A Single Man) don't feel so gruelling, like last year's line-up where even the so called "feel good" film was the often tough going Slumdog Millionaire!

Precious tackles the abuse, both physical and mental, heaped upon an teenager who when given an opportunity in life will try her hardest to improve her situation but approaches most situations with a resigned gloom and a hard attitude because that is what she needs to survive. The film doesn't pull its punches either (well, my understanding of the what's in the book suggests it does a little but then it would likely be unwatchable). There are several brutal scenes that go beyond discomfort for the audience. So not a Sunday-afternoon crowd pleaser then, but a must-see none the less.

Gabourey Sidibe, in her first film, is simply tremendous as Precious. It could be tempting (since it is her first role and so viewers can't be sure) to think, oh well she knows it, she is it, it's not acting it's casting. Having been to a Q&A screening let me assure you it is acting of the best calibre. Sidibe in person is a sunny, smart girl with little seeming in common with the on-screen character. That she so inhabits the character with no training demonstrates how good a performance this is.

Much has been made of Mo'Nique's role as the abusive mother, and she is impressive. But i can't help feeling firstly that this is partly that people expected her casting is such a role and such a film to be stunt-casting (as with the cast's fellow players Mariah Carey and Lenny Kravitz) and were expecting her to be all wrong in the role. That she is so good (as is Carey for that matter, though Kravitz, while fine, has little to do) almost makes the performance seem even better. Secondly this is one of those gift roles. A superbly written monster. You feel the character created in the writing, the set-ups and shocking dialogue the script provides. I take little away from Mo'Nique, she does deliver the goods, but i feel this is one of those brilliantly written roles that a dozen actresses could have done just as well without missing a beat - much like Viola Davis' role in Doubt last year; a barn-storming scene-stealer that stays with you after the film, but really is it completely the performance or is it mostly the character?

Sidibe brings so much to her role she feels irreplacable. In comparison to Mo'Nique my vote for Supporting Actress this year (Julianne Moore in A Single Man) brings such a depth of character you can palpably feel beyond what's being presented you get a fully formed character that lives and breathes beyond her scenes and, indeed, beyond the story. Mo'Nique is giving her all to what is on the page, there's no doubt, but i get no sense of anything more. Of course the Oscars love a big shouty, unsubtle performance and favour them over delicacy and true character embodiment year after year so Moore will probably lose out (again!) but she shouldn't.

Paula Preston adds some much needed light to the film. She has little to really do beyond empathise and try to help Precious but once she is in the film it becomes more bearable. It doesn't hurt either that Preston much have a pretty good claim on "world's most beautiful woman", she simply is stunning.

Lee Daniels has delivered a thought-provoking and often harrowing film but it goes beyond strong performances and a tough story, Precious is a genuinely compelling film to watch. So often these kinds of films are lost behind a single strong performance (Monster) or get bogged down in their world (A Guide To Recognizing Your Saints) or feel like stunt-casting for a famous face known for alternate fare (Havoc), or are simply too full on to be really watchable (Johnny Mad Dog) - films are to some degree entertainment after all - but Precious, while often difficult to watch, is not a film you regret watching, or feel you wouldn't watch again, and what stays with you from it is so much more than the gruelling abuse episodes.

Precious is every bit as good as last year's Slumdog Millionaire (i would say easily better) and would deserve a Best Picture slot even if we were still done to 5 not 10. The test will be if Daniels can make the five directors. On the strength of what i've seen so far (most everything significant except Nine and Invictus) he deserves it.

Latest screening: Up In The Air

It’s starting to seem like every other George Clooney film brings with it a tag of George’s best performance yet. Intermixed with fun, goofy roles like in Burn After Reading and, from the looks of it, the upcoming Men Who Stare At Goats, we’ve had Syriana, Michael Clayton and now Up In The Air.

Up In The Air is not as serious as those other two but it is not goofy either. It is funny, very funny, but perhaps is Clooney’s most human performance.

Much of this can, no doubt, be credited to writer/director Jason Reitman. With Thank You For Smoking, Juno and now this he has shown a trend for mixing humour, both subtle and caustic, with heart and emotion without sentimentalising his character and descending into schmaltz. It is a fine line to tread and if anything Reitman is only getting better at it.

Up In The Air is a well judged look at the relationships in the life a guy who thinks he needs none. His relationship to his job, his “hobby”, his colleagues, his potential nemesis, his family, his lover, all come into the mix as we follow him as he flies around the US building up his air miles toward a dream goal and doing his day job – firing people for companies who don’t want to do their on dirty work.

This too is well handled. Reitman could have brought the more cynical and satirical edges he did particularly in Thank You For Smoking (and they do occasionally pop up, George one-liner following the revelation of how a boyfriend broke up with another character is the zinger of the year and evoked a massive audience reaction) but in a time when job loss and economic misery are effecting so many Reitman uses real people, mixed with an occasional actor (such as the ever reliable JK Simmons) to make you feel what they are going through. While doing this he also manages to make a likeable character out of the completely self-absorbed Ryan Bingham (Clooney) despite his job description. This alone would be an impressive feat.

This is almost a Frank Capra movie. Except this is a Frank Capra movie with edge. Ryan Bingham is no Mr Deeds or Mr Smith, an instantly sympathetic, loveable character. Bingham is kind of an ass but this is his story and you’ll be routing for him.

Clooney, as said, has rarely been better and Vera Farmiga gives sterling support as his literally fly-by-night lover. Danny McBride, Amy Morton and Melanie Lynskey are all solid in small roles, and Jason Bateman likewise has little to do. The real stand-out in support though is Anna Kendrick. It’s a tricky role that could easily come off whiny and irritating, or calculating and bitchy, etc but Kendrick takes an again not wholly likeable character and invests her with such vulnerability and well-meaning naivety that she wins you over. I wouldn’t be surprised to see a supporting actress nomination headed her way amongst several possible nods for this highly enjoyable and well judged film.

Latest screening: A Single Man

Well, we have an early contender – certainly for Best Actor (Colin Firth) and Best Supporting Actress (Julianne Moore – who was robbed in the Best Actress category for Far From Heaven in 2002) – but arguably also for Film and Director.

A Single Man is one of the most assured debuts I can recall.

A beautiful film in every sense there are a few moments early on when the fact it is a film by fashion designer Tom Ford leave your mind getting in the way. One or two moments elicit an expectancy for a product logo to appear, but these are quickly thrown aside as you get drawn into the story.

The screenplay, co-written by Ford, is timed to perfection. The pace is quick yet allows for easy entry. Nothing about the world is covert and hidden yet neither is it in-your-face and confrontational. Each of the three leads, Firth, Moore and About A Boy’s Nicholas Hoult is given a fully rounded character regardless of screen time, because you can feel the unsaid underneath and each gets their own arc, without the story ever feeling like there is too much going on in its fairly short (99mins) running time.

The direction is highly stylised but it never gets in the way, always serving the story. It will be interesting to see if Ford can change the style down a gear when tackling other stories in future but here he has the balance right. It is easy to focus on the style in the early stages because of fore-knowledge but this is a film that just gets better as you watch.

It helps that is served by a faultless cast. It is interesting that Ford has chosen Brits Hoult, Matthew Goode and Lee Pace to play Americans and American Moore to play a Brit but it works and as most people won’t know (except for Moore) the nationalities of the cast the illusion will never be broken – you wouldn’t suspect.

Firth has simply never been so good. If every actor has one perfect, flawless role for them out there then Firth has found his here.

After a few years of noble efforts and oddities Moore reminds us that she really is one of the best American actresses working. This rivals Far From Heaven, while perhaps not quite matching it only because it is very much a supporting role. But if this isn’t the role that finally bags Moore a long overdue Oscar then there’s a phenomenal performance hiding out there somewhere because Moore ought to be a shoe-in.

There best summary is simply that A Single Man is a beautiful film – beautiful in tone; in intention; in acting; in realisation. If Ford can repeat the quality of this debut in future film projects people will be wishing he’d been doing this all along.

Latest screening: Doubt

I have no doubt that Doubt will feature heavily come the awards nominations. While the film itself may be a long shot - it is another of this year's seemingly unending set of solid films with incredible performances - the four leads are uniformly excellent.

The film manages to avoid the trappings of its stage origins well, a particular surprise given that director John Patrick Shanley is both writer of the screenplay and of the original play, and hasn't directed a film since the painful Joe Versus the Volcano (the Hanks/Ryan collaboration most people conveniently forget!) This may largely be due to typically stunning cinematography by Roger Deakins (presumably the film that prevented his working with the Coens on Burn After Reading). It is an intimate film as necessitated by the play construct though and that is perhaps why the film does not resonate like the performances do.

Much will, and already has, been made of Meryl Streep's performance and rightly so but Philip Seymour Hoffman, Amy Adams and, in a single but memorable split-scene Viola Davis, all bring their A-game and match her. There is a feeling in Hollywood right now that Streep will take best actress and it would be no bad thing were she to, but i suspect not. Streep, like Hoffman, is typically excellent here but there are other performances this year as good (see my first predictions later today) and this feels like a nomination not a win. Personally for my the performance that really resonated was Adams.

Awards chances: Expect to see Streep and Adams get nominations with possible spots for Hoffman (although with best actor so strongly contested this year i suspect not) and maybe Davis who, despite very limited screen time, makes an impression and supporting actresses worth nominating currently seem few and far between. The screenplay if also likely in the adapted category and Deakins may well find himself short-listed once again. The film is more in doubt, though it is not a strong year so it could do. Director i'd be very surprised.