You're Mickey Ward.

The Fighter

A crowning achievement for Mark Wahlberg and Christian Bale, The Fighter is the inspiring true story of boxer Mickey Ward and his back and forth relationship with his brother, fighter turned addict, Dickie Eklund.

The Fighter is a fantastic showcase for its actors, most notably Christian Bale. He chews the scenery and demands attention, much like his character. His performances are usually quieter and more reserved. Even as Batman he has a quiet control about him. But as crack addict Dickie Eklund, Bale lets everything hang out from the inside and outside. While he's causing trouble for his family or going through withdrawal, we can even see Dickie behind Bale's eyes. He always looks hungry, for a comeback or crack. There's an insanity behind those eyes that disappears when Dickie gets clean. You can see to the depths of Dickie's soul in Bale's eyes. He will get nominated for his first Oscar and he will win. This is one of the male performances of the year.

While Bale demands to be the center of attention as Dickie, Wahlberg stands quietly by. Though Bale gives the movie's top performance, Wahlberg is not to be missed and this is a milestone for him as an actor. Wahlberg is usually chewing the scenery and doing the most he can with the words. But in The Fighter, Wahlberg is much more reserved and quiet, really showcasing his talent. He tells the story with his face, whether he's looking at you with intensity or looking down in shame. It was great to see a bit of a role reversal for both Wahlberg and Bale. The two play well together and form a believable older brother-younger brother bond.

Amy Adams and Melissa Leo are excellent in their supporting but pivotal roles. Leo is infuriating as Eklund and Ward's mother. Her tunnel-vision and blindness are despicable. Adams is equally strong and Ward's love interest. She isn't afraid to throw punches and stand up for her man and herself, even if she's punching Ward's family.

The fight scenes are well shot and the true story is very compelling. It's an impossible situation Ward is in; one wants to trust their family, but something family can be toxic. But in the end, he needs both. The film is a little too drawn out but is an excellent portrayal of unique family dynamics. The Fighter is not to be missed, definitely one of 2010's best.

Ian Somerhalder in The Vampire Diaries

As the sassy, guarded, wounded and foxy Damon, Somerhalder is the best part about The Vampire Diaries. His combination of snark and sexy are a welcome addition to TV. He delivers excellent one-liners, moves audiences during dramatic moments, and is simultaneously sympathetic and despicable. Somerhalder has certainly grown since the Boone days. If The Vampire Diaries were on any other network, Somderhalder would score himself an Emmy nomination.

Netflix

Igby Goes Down-Have the soundtrack, but never seen the movie.
Despicable Me-Missed this in theaters.
Exit Through the Gift Shop-Netflix Instant. Not totally sure what it's about, but this Banksy character is intriguing.

Help me.

127 Hours

A crowning achievement for James Franco, 127 Hours is Danny Boyle's latest and the true story of climber Aron Ralston and the harrowing days he spent trapped under a boulder.

Danny Boyle is great at telling extraordinary stories about extraordinary and sometimes flawed men. Like Almodovar is a great director of women, Boyle is a great director of men. He understands his characters pros and cons, ticks and nuances. He's great at drawing out the best and worst in his men by placing them in heart-pumping situations. He places his camera in the face of his characters, giving the audience an extreme closeup of their face and inner most thoughts. Furthermore, Boyle's always been great at showing his man in action, whether they are running from the rage-filled undead or scurrying through the claustrophobic streets of Bombay. Boyle's films are distinct and 127 Hours is a fitting addition to Boyle's resume.

127 Hours is the James Franco show. Despite other supporting characters, Franco owns the movie. This is one of the most authentic male performances I've seen in a while and Franco seems to become Ralston. Franco accurately shows experiences of reflection, catharsis, and honesty as well as all the stages of grief. We see denial, anger, bargaining, depression, and acceptance sweep across Franco's face; it's really beautiful. He's very real and really makes the audience question themselves: what would you do if you were in a situation like this? Franco really shows his chops and it's a high point for his career. I've always liked Franco (despite how weird he seems) and he's elevated himself to a whole new level with 127 Hours. He connects with his character and his audience. An Oscar nomination is definitely in his future.

Boyle reunites with composer A.R. Rahman for the 127 Hours. While I do miss John Murphy's work, Rahman creates an imaginative and heart-pumping score. The music matches the scenes. Moreover, the film's original song, the appropriately titled "If I Rise," is haunting. Sung by Dido, the song should definitely get a nomination. Actually, this year's best original score race should be a tough one to call, what with previous winner A.R. Rahman, Trent Reznor and Atticus Ross's electronic and hypnotizing score for The Social Network and Clint Mansell's classical and scary music for Black Swan.

I was nervous about all the film's potential downtime. I wondered how they would handle all the time Ralston spent trapped under that boulder. But there was never a dull moment in 127 Hours. While Ralston and the audience are worrying over the dwindling amount of water or how to break free, Ralston reflects on his life, imagines and relives experiences and conversations, dreams of liberation, and has a premonition that ultimately gives him something to live for. The screenwriters and Franco even manage to throw in a little comedy with a Ralston one-man talk show.

Boyle creates a whole film experience with 127 Hours. The exhausting climbing and biking sequences, the sweeping shots of the stunning Utah landscape, the heart-racing final act and James Franco's exceptional performance make 127 Hours one of the best films of 2010.

Anne Hathaway in Love and Other Drugs

Let's just make this an Oscar Host 2010 post. Hathaway really gives a strong performance in this cheesy romance/minor crap fest. Like James Franco in 127 Hours, she too has the five stages of grief fill her facial movements and physicality, but she includes a little bitterness and a huge dose of bitch. She definitely made this disappointment watchable.

Netflix

Running with Scissors-Always wanted to see this.
Secretary-Maggie Gyllenhaal is supposed to be great.
Laguna Beach Season 1-Netflix Instant. I need something for background noise.

The only person standing in your way is you.

Black Swan

Black Swan was number one on my list of winter movies and right now it sits at number one on my list of best movies of the year. Darren Aronofsky's masterpiece is a psychological thriller with brilliant performances, intriguing themes, and rich visuals. I was emotionally and physically moved by Black Swan and I believe the film will stay with me for a very long time.

To get started, I'll state the obvious: Natalie Portman was spellbinding and produced a genius performance. This really is the performance of the year. Portman disappeared into Nina. She was vulnerable, naive, and childish; I've never seen Portman this way before. With many of her other roles, she has a strength and confidence. Nina completely lacked both. Portman's fragile frame matched Nina's psyche. Portman completely disappeared into this role; she let go and just fell into the role. I can't imagine any other actress playing Nina.

On top of the revolutionary performance, Portman mastered ballet. She trained for a year and it shows. In many films where an actor must master a skill, the camera rarely shows the actor's face and body in the same shot to better hide a double. But Portman's face and body are seen together throughout the whole movie. She looked as if she'd been doing ballet her entire life. If Natalie Portman doesn't win the Oscar for Black Swan, I'll completely lose what faith I had left in the Academy. Sorry Annette Benning, but your performance in that awful movie can't even touch Portman.

Mila Kunis is exceptional as Lily, a rival dancer. She's very natural in the role and can definitely do more than just comedy. She pushed herself out of her niche and made the role her own. Barbara Hershey also did an outstanding job as Nina's mother. She was equally horrifying and sympathetic. While Vincent Cassel did a great job as the ballet director and provided an excellent motivation for Nina, Black Swan belongs to the ladies.

The visuals and editing rival Portman in strength. The continuous use of black and white emphasize the battle of good and evil that can rage inside a person. The costumes are beautiful and the sets are breath taking. Black Swan is brilliantly shot to look like Nina is being stalked. The visual effects are the stuff of nightmares; this film is scary. Clint Mansell's haunting score moves the film along and adds to the intensity of every scene.

The script brilliantly interweaves Nina's story with the story of Swan Lake; they fold into each other perfectly. The script also moves Nina's character development along well, giving us time with each change. Everything is revealed at the right time. Her transformation left me speechless and my body lifeless. The last act is some of the most riveting, tense, and visually striking minutes I've ever experienced in a film.

The script and story pair well with Aronofsky's previous film, The Wrestler. Both are about a physically demanding and under appreciated art, and the lengths one goes to to be an artist, to achieve perfection, and the costs. Both films are shot similarly for different reasons and both endings pack a powerful punch. But Black Swan is much riskier than The Wrestler. Aronofsky laid the ground work with The Wrestler and raised the stakes with Black Swan.

Black Swan is one of the scariest, engaging, and best films I've ever seen. It's a masterpiece.

Judi Dench in Notes on a Scandal

Definitely one of Judi Dench's most memorable performances and one of my favorites. She could've taken this performance in two directions and she chose an effective path of subtly, slight humor, and bitterness that all flow into her obsessive behavior. She comes across as sympathetic but behind that curtain she's sucking the life out of you. Cate Blanchett describes Dench's character as a vampire and that's exactly what she is. Dench sinks her fangs into this role in a way only Judi Dench can.

Netflix

Inception-Love it. Love it. Must see again. Love it.
Wild Child-Some cute Emma Roberts comedy along the lines of a Mary-Kate and Ashley movie. I'll get this when I need a break from the heavy stuff.
Skins Vol 3-Netflix Instant. I'll try it again.

Welcome to Wonderland.

Burlesque

Burlesque is a fun distraction that manages to be enjoyable despite an awful screenplay.

Christina Aguilera gives an acceptable debut performance. The role doesn't call for much, but she's believable as a small-town girl with a big voice. Her performance was certainly better than Britney's debut in Crossroads. She has great chemistry with the film's more seasoned actors, including forever diva Cher. The two powerhouses play off each other well. It's great to see two generations of divas working together and seeing a torch passed.

Stanley Tucci is magic as usual. Cam Gigandet is sooo nice to watch...because he's foxy. Alan Cumming is great but totally underutilized. Finally, it's great to see Kristen Bell play someone other than a cute, nice blonde. She's a great dancer but I wish we could've heard her vocal talents. But this isn't a normal musical and clearly it's all about Cher and Christina.

The film isn't really a musical; characters mostly sing when they are supposed to, not because the moment feels right. But that doesn't stop the musical numbers from being pretty awesome. Catchy original and timeless songs sung by The Voice, Christina Aguilera. And Cher's still got it.

The script is just a dis-ast-uh. Cliche and cheese combine and produce the mess of the Burlesque script. I don't think Steve Antin has much writing experience and it certainly shows. And he used way too many establishing shots. Don't worry Steve, I haven't forgotten for the tenth time that we're at the Burlesque Lounge.

Burlesque really reminded me how great it is to be a girl sometimes. We get to wear stunning outfits adorned in pearls, feathers and a whole lot of sparkle. We get to paint beautiful canvases with lipstick, eyeliner and eye shadows and create works of art. Though dancing in little outfits in front of men isn't for everyone, it can be very empowering for some women, and the women in Burlesque were certainly powerful.

If you need to turn your brain of for about an hour and a half, look at pretty colors, watch dance moves you'll never be able to do and hear vocals you'll never be able to mimic BUT leave feeling satisfied, then see Burlesque.

Jeremy Renner in The Town

For the most part, I liked The Town but Renner made it a memorable film. He plays an incredibly unpredictable character with a fire in his eyes that scared me. He left behind a path of destruction and was like a lit firework in each scene. His accent was sometimes hard to understand but I'll take that as his dedication to the role. Another excellent performance from an immensely talented man.

Netflix

Going the Distance-I love Justin and Drew. This looked cute.
Enter the Void-Supposed to be super intense but David and Anne loved it.
Battlestar Galactica-Netflix Instant. Supposed to be sooo good. An upcoming TV project.