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Throw Me The Statue!: SCR's Oscar Picks, 2009 [3/06/2010 10:19:00 PM]:

JOSHUA STARNES:

Joshua Starnes is Vice President of the Houston Film Critics Society. He is a contributor to Space City Rock. His Picks are below.

82nd Academy Awards

???Even if you've never heard of Punksawtaney Phil or you still get snowstorms after February it's still easy to tell when Spring is on the way, because that's when the annual Hollywood backpatting reaches the fever pitch that is Academy Awards. �For four-plus hours Hollywood becomes the center of the world (or more so than usual, at least if you live there) as they announce their picks for the best and the brightest from the previous twelve months. �And sometimes they even get it right.

Best Picture

For the first time since 1943, the Best Picture category has been expanded to 10 films (at one point in the 1930s, as many as 12 films were nominated), offering a great many more films the opportunity to advertise themselves as Best Picture Nominees. Cynics among us might suggest that this is largely a method to aid to the marketing of films (and film as a whole) during a recession, a complaint the Oscars have suffered under almost since their inception. Or we can be optimistic and call it a return to the Golden Age of Hollywood when politics had to less to do with who was nominated than merit. The reality is that situation is probably going to be about the same as it was before the category was expanded: a mixture of well-marketed films that get nominated because it seems like they should, films so good they can't be ignored, and the odd head scratchers leaving you wondering what the Academy was thinking. 2010's mix is a pretty much exactly like that, only more so:

Nominees

Avatar

The Blind Side

District 9

An Education

The Hurt Locker

Inglourious Basterds

Precious: Based on the novel "Push" by Sapphire

A Serious Man

Up In The Air

The biggest change over the last few decades is that the extra slots, especially in a weak year, allows more 'entertainment-heavy' films into the pool, the one type of film the Academy generally loathes to nominate. While Avatar seemed like a shoe-in for a nomination, many thought the same of The Dark Knight last year. Then again, that's probably why we're talking about 10 films anyway and for all its faults the Academy rarely makes the same mistake twice in a row. District 9 and Up would probably never have been nominated, however, (particularly Up as the Best Animated Film category was specifically added to keep them from being nominated for the BIG award).

The Hurt Locker, Up In The Air and Precious were also certain to be nominated. The intense marketing pressure of filling that last slot would have driven out most of the weird nominees in favor of something safe that would settle for being honored to be nominated. But this year we get all of the above, with not one but two left field entries; The Blind Side and A Serious Man.

Actually, even though it has no chance of winning, The Blind Side isn't such a strange pick, particularly given the groundswell of grass roots support for it since it was released back in November. The real head-scratcher is A Serious Man (pushing out better and safer Oscar-bait choices like Invictus or Bright Star) as it it didn't make any particularly deep waves with audiences or critics. The most frequent response to it's nomination is a sudden realization that you haven't seen it or even heard anyone's opinion on it. The only rationale seems to be that it is a Coen Brothers film, and since they have such a sterling reputation for quality it must be good even though no one's seen it, and the people who have, have generally forgotten it. And that Clint Eastwood was probably getting too smug for his own good.

For the most part, though, it's a pretty good (and unsurprising) list, but only two films have any real shot this year: The Hurt Locker and Avatar (with Up In The Air coming in a distant third). The big award is without question the most politicized of the bunch, with winners often picked based on who seems like should get the award rather than who deserves it; what the picking of a certain film says about the people who awarded it. But there's always room for surprises and lot relies on how the Academy's memory. With it's Golden Globe win and stunning box office take, Avatar certainly has the most momentum at the moment, and a lot of years that would be enough. But James Cameron already has a couple of Oscars, for the last highest grossing film of all time that he made, and that sort of thing does matter. And while they may nominate one, the Academy generally hates giving big awards to sci-fi or fantasy unless they have no real choice.

This year they do have a choice, and that is The Hurt Locker. It's pretty much everything Avatar is not; small, subtle and with a taut focus on a complicated main character. It doesn't hurt that it's topical, quite good and it's the first nomination for most of the people making it, even though they've been in the industry for some time. It's actually a pretty close call, which is unusual for Best Picture (only the nominees are usually surprising). While Up In

The Air or The Blind Side could manage some sort of dark horse win, I think this will be one of the safer categories of the night, which is why I suspect the Best Picture of 2009 will be:

Best Picture

The Hurt Locker

(and just in case anyone was wondering, my own pick for best film of the year was Precious but it has practically zero chance; they're just going to have to be honored to be nominated).

Best Director

Just like with real elections, award voting tends to be strictly down ticket. This is most notable in the technical fields, where generally only critically acclaimed films are nominated despite the fact that a movie doesn't actually have to be any good to have great sound design or visual effects or what have you. But it's just as prevalent in the artistic fields, which is why Best Director nominees almost always follow Best Picture nominees exactly. And 2010 is no exception.

Nominees

Kathryn Bigelow - The Hurt Locker

James Cameron - Avatar

Lee Daniels - Precious (the title's too damned long to keep typing out)

Jason Reitman - Up In The Air

Quentin Tarantino - Inglourious Basterds

While a lot of the artistic categories will get their award 'just to give the film' something, Best Director usually also follows Best Picture; in fact it's often quite an upset when that doesn't happen. Cameron actually has more of a chance here than for Best Picture simply because of the immense technical job he did with Avatar (and which Avatar is much more successful as than as a movie). But once again, he's also already got one and I don't think the Academy will be able to pass up the chance to finally give a woman a Best Director statue, so the winner will probably be:

Best Director

Kathryn Bigelow - The Hurt Locker Also, we can probably take it for certain now that Quentin Tarantino will have to wait until he's about as old as Martin Scorcese was to finally get an Oscar for an inferior film, in order to make up for not winning for Pulp Fiction. Best Actor

In the reverse of most of the last couple of years, only Best Actor offer the opportunties for real surprises. Except for Colin Firth's admittedly deserved nomination for A Single Man, any single one of these individuals has a real shot. (Despite how good he was in it, A Single Man was probably the most turgid film of the year; most Academy voters were probably unable to stay awake through it to decide whether or not to vote for it).

Nominees

Jeff Bridges - Crazy Heart

George Clooney - Up In The Air

Morgan Freeman - Invictus

Colin Firth - A Single Man

Jeremy Renner - The Hurt Locker

Clooney actually gave probably the best performance of his career as a termination specialist who's cut himself off from the human race and Freeman BECAME Mandela, so much so that it didn't really matter how accurate the movie was. But they both already have Oscars and Bridges doesn't, and that will probably cinch it. Which is perfectly okay. Bridges washed up old man doesn't just look like a country singer, he looks like a country song and Bridges inhabits him with skill and grace. The first half of Crazy Heart was probably the best first half of any film in 2009 and even if it didn't really know where it was going until it got there, you could easily award Bridges and not be wrong. Which is why this time next year we'll be seeing ads for Tron: Legacy starring Academy Award winner Jeff Bridges.

Best Actor

Jeff Bridges - Crazy Heart

Best Actress

Unlike Best Actor, but very much like all the rest of the acting categories, there is no drama around the Best Actress award. A lot of that is the fact that Hollywood has a really hard time coming up with roles for women; for the most part they're just used as set dressing even when they're the star. More often than not you end up with some completely off the wall picks mainly because there weren't many choices and the queue has got to be filled somehow; 2009 wasn't quite as bad as that.

Nominees

Sandra Bullock - The Blind Side

Helen Mirren - The Last Station

Carrey Mulligan - An Education

Gabourey Sidibe - Precious

Meryl Streep - Julie & Julia

There's actually a couple of excellent performances from little films in here, so that the Academy wasn't left filling in spots with well known, well regarded actresses in lesser roles (though there was some of that, too). In fact, there were enough really good lead performances this year that there are some real gems missing here; specifically Abbie Cornish for Bright Star and Saoirse Ronan for The Lovely Bones (whether you liked the movie or not, much like A Single Man, she was very good in it).

But they weren't nominated and the rest is all cold, hard math. Mirren and Streep have Oscars, Mulligan and Sidibe are young and have the opportunity to be nominated again. That just leaves Bullock, in the midst of a major career resurgence and after receiving several other awards (including the SAG and the Golden Globe) in what is, if we're honest, probably her only chance to ever be nominated.

Best Actress

Sandra Bullock - The Blind Side

And if we continue being honest, as sentimental and sappy as "The Blind Side" was, Bullock was very good in it. And shit, if Julia Roberts can get one...

Best Supporting Actor

In a lot of ways the Supporting Actor category this year is the most and least surprising. The most because of who was nominated and who was not. Several people you fully expect to be here are here.

Nominees

Woody Harrelson - The Messenger

Christopher Plummer - The Last Station

Stanley Tucci - The Lovely Bones

Matt Damon - Invictus

Christoph Waltz - Inglourious Basterds

Woody Harrellson gave the best performance of his life in The Messenger and made that movie worth watching (especially the notification scenes, which are probably the hardest couple of minutes of film to watch of anything made this year) while Ben Foster often threatened to drag it down. Stanley Tucci has been rightly noticed as probably the best thing about Peter Jackson's misguided The Lovely Bones. He got the showy role in that film, however; unfortunately overshadowing Mark Wahlberg's excellent turn in the film. I'd forgotten he can act when he puts his mind to it. Christopher Plummer is one of the real head scratchers; there's nothing wrong with is performance as Tolstoy in The Last Station but it strikes me more as an actor's lifetime achievement nomination for the film that is probably the least viewed of anything nominated for an Oscar that's not a foreign film or a documentary.

But the two big surprises are the inclusion of Matt Damon and the absence of Christopher McKay for Richard Linklater's Me and Orson Welles. McKay inhabited Welles in a way that every other actor playing a real person this year wishes they could have managed (doesn't hurt that Welles was very much larger than life even in his real life). And Damon, while solid in Invictus wasn't really a reason to watch the film. And considering how few nominations Invictus actually got, it's strange that this was one area they decided to notice it in. Freeman's performance aside, it wasn't a particularly actorly movie. Maybe it's the fact he held onto an accent. Actually Damon is a good actor, but for some reason he never gets nominated for his actually good performances. He really should have been nominated for Best Actor this year for his hilarious turn in Steven Soderburgh's The Informant! Perhaps this is to make up for that. None of that matters, however, because the reality is for the third year in a row, Best Supporting Actor is a foregone conclusion. Christoph Waltz's towering performance in Inglourious Basterds has won just about ever supporting award given out so far and will certainly win every one yet to come. It was probably THE performance of the year.

Best Supporting Actor

Christoph Waltz - Inglourious Basterds

Best Supporting Actress

It's a really similar situation in the Supporting Actress category. As usually happens in the Actress categories, the number of actually qualifying roles dries up fast, leaving the Academy to scramble to find people who seem likely they should be nominated.

Nominees

Penelope Cruz - Nine

Vera Farmiga - Up in the Air

Maggie Gyllenhaal - Crazy Heart

Anna Kendrick - Up in the Air

Mo'Nique - Precious

Farmiga and Kendrick are rightly nominated for making "Up in the Air" work as well as it does. Those Twilight people are going to have to pay up to get Kendrick back for the next film. And it's hard to argue with Gyllenhaal's trepiditatious single mother in Crazy Heart but by then you can see the Academy working hard to find some good nominees. I'm actually a little surprised Diane Kruger and Melanie Laurent haven't gotten more notice for Inglourious Basterds. Gyllenhaal's nomination has a whiff of looking for a recognizable name in a role that you might be able to take serious. Which is how we get to Penelope Cruz for Nine. It's a movie that didn't really need to be made from a musical no one really liked to begin with. Cruz was probably the least annoying thing in the film but that doesn't say much, and if that's the requirements for an Oscar nomination nowadays, that's not saying much. But, as with Supporting Actor, none of this matters. No one is going to beat Mo'Nique for her performance in Precious. She may go down as one of the best villains of the decade for that role. It's surprising as it is harrowing; I honestly had no idea she could actually act. Short of some sort of upset from Up in the Air she's a lock.

Best Supporting Actress

Mo'Nique - Precious

Best Adapted Screenplay The screenplay categories get used often as gift awards for the Best Picture nominees that aren't going to win, and that may well be the case again this year. Every so often a screenplay is just so good it can't be ignored, but more often the not it wins for the movie, not the actual words behind the movie. In a perfect world that would mean In the Loop would win. A mixture of political theater and comedy, it was so dry it actually takes a minute to realize how insane it is, with some of the sharpest characterization of the year. But this is probably not a year when the most deserving is going to win, and it's going to have to be satisfied with being nominated.

Nominees

District 9

An Education

In the Loop

Precious

Up in the Air

The rest are all Best Picture nominees, which should seem fitting. The best films should have great screenplays to start with (which is the point where I point out once again the complete absence of Avatar from any but technical nominations; even Star Wars was nominated for Best Screenplay). There are several other excellent screenplays missing from this category, including Fantastic Mr. Fox and The Informant! But people often have a difficulty not nominating Best Picture nominees for a screenplay award unless there's a really good reason not too (*cough*Avatar*cough*) and the sheer number of nominees this year is swamping the screenplay categories. It's kind of a surprise The Blind Side isn't here, then again, maybe not. It's a film that works on a purely emotional level and has many flaws, it's screenplay not the least among them.

With Avatar eating up a lot of the Christmas air, Up in the Air's chances for a major award have begun to fade -- people definitely have a love it or hate it reaction to it's unsatisfying look at modern life -- and this will probably end up being its consolation prize for not getting anything else. Which is sad, because it's probably the weakest screenplay in contention in this category except for District 9 which only really works when the visuals are factored in. Which isn't the way it's supposed to be, but is often the way it is.

Best Adapted Screenplay

Up in the Air

Best Original Screenplay

This is the only artistic category that is a genuine toss up. Because so many of the best picture nominees are from adapted screenplays they don't quite overwhelm the category. And some of the nominees, like A Serious Man just aren't serious. They're they because it seems like they should be, because it was hard to decide what did. It's like the Martin Scorcese or Woody Allen factor. Eventually you just start getting nominated because there are five slots to fill and you're a known quantity.

Nominees

The Hurt Locker

Inglourious Basterds

The Messenger

A Serious Man

Up certainly deserves the Original appellation and The Messenger is surprisingly affective, though Moverman probably more deserved a nomination for I'm Not There two years ago. And The Messenger is a much more performance driven than script driven film.

This will probably come down to The Hurt Locker and Inglourious Basterds and there really is no telling which way the Academy will go. The down ticket affect is always a possibility, but Inglourious Basterds had by far the best dialog of the year and reminded people what talent Tarantino can be. If somehow Avatar prevails at the top spot this could be The Hurt Locker's consolation prize. I don't think it's going to play out that way, and Tarantino is probably due to be honored again. It certainly had the most original spelling.

Best Original Screenplay

Inglourious Basterds The rest of the awards will almost certainly be eaten up by Avatar. It is a technical triumph if nothing else. And that might be enough to put it over the top for Best Picture, after people just get used to voting for it, but I doubt it. There are actually a handful of places where it's not nominated, allowing Star Trek to be an Academy Award winning film, even it if is for Best Make Up (not really sure how the The Young Victoria got into that, unless it was for all the sideburns).

The Academy has gone to pains to make sure that no one is overlooked this year, and tamper down the furor of last year. It hates when people realize just how conservative and hide-bound it really is. Hollywood's all about being hip and in the now, after all. But it is, and this year's no different. Even with 10 slots, they still couldn't quite get it right and Invictus snub is quite strange, particularly in favor of stuff no one liked like A Serious Man.

More than anything else, this will be the year of the old hand for the most part, when people like Sandra Bullock and Jeff Bridges and Kathryn Bigelow, who have toiled for so long, finally get their rewards. Sometimes it's easy to forget how political this all can be, with its marketing campaigns and so many considerations that have nothing to do with the quality of the work itself. But that's the way it is. There were still plenty of snubs, like Amreeka for Best Foreign Film or Abbie Cornish for Best Actress of The Informant! for much at all (if there's any justice it will win Best Score, but that would require too much thought on the voter's parts). But overall it was a pretty decent year, if not particularly awe-inspiring. It's rare that the Academy has a real chance to pick the best picture as Best Picture, but this looks like it will be the one.

Unless Avatar wins.

ADAM WOODYARD:

Adam Woodyard is a contributor to Space City Rock, and gives his Oscar Picks below.

It's been several decades since the Academy last selected ten nominees for Best Picture. As critics everywhere scurry to try and apply old patterns to the new paradigm, let me assure you that they do not apply. Votes are split up between ten films, not five, and a needlessly complex mathematical system is now in place, that we needn't go into. Popularity of individual films means less than it ever did; all that is left is members of the Academy voting for the work done by themselves and their contemporaries. Other award ceremonies mean even less, as they are handed out by film critics and journalists. But looking at the history of the Best Picture Oscar, from 1927 to present, certain things�not all�remain consistent. The film most likely to win the Best Picture Oscar, in reverse order:

10. A Serious Man. The Coen Brothers just won the statue three years ago. The Academy feels that one is enough, at least for a few years� there are numerous instances of this, but the most recent would be all three Lord of the Rings films winning different awards, and not all winning the same award. Especially if (more resembling, say, Ron Howard, or Martin Scorsese), that Oscar comes many years into a well-established career.

9. District 9. The most talked about film of the year, at least until Avatar came around. No one is disputing the greatness of the film, but whether there are five nominees or ten, the effects-driven blockbuster does not win this award. Creative, yes� but it's not really actor-driven, is it? Other Best Picture Nominees in this category would include, say, Jaws, Star Wars, or The Sixth Sense.

8. Up in the Air. Essentially not a winner because of the same reasons as above. Also, in tying in with the same reasons as below, the Academy has more often favored big, sweeping epics with complex storylines and even more complex filmmaking. It is, at least in their view, simply a greater achievement to make a film with a cast of thousands. The exception is, of course, the year in which such a big sweeping epic doesn't appear (say, 2005-present), or, if an epic does appear, that filmmaker just won the award, so the Academy's focus is elsewhere (Letters from Iwo Jima, the first two LOTR films).

7. An Education. See above. Well-acted, well-written, but the Academy isn't going to give you the award if they haven't seen your film. See also, The Reader, The Shawshank Redemption. 6. Precious. While not even remotely the same film as #9 on the list, the reasons are the same. A well-made film from a first-time director, with its handful of leads turning in spectacular performances�this is reason enough to go see it. Does it move cinema forward as an art form? While it does admittedly shine a light into corners of our nation that are none-too-often examined� it is by no means unique in that respect. Awards? Yes. Best Picture? No.

5. The Blind Side. This selection is baffling. It's essentially what would happen if Precious were made for a mainstream audience , by a bunch of white executives. You'll leave the theater after Precious feeling depressed yet thoughtful. You'll leave the theater after The Blind Side feeling happy and in the mood to grab dinner at Chili's. The number of artistic liberties taken with this once-true story rivals that of The Great Debaters. The Academy loves Sandra Bullock, but this has as much chance of winning as Seabiscuit.

4. Up. An animated film hasn't been nominated since 1991. Then it kept not happening, so often, that a special category was created, and some fantastic films have won that award. But it never did have the same prestige, exactly, as Best Picture. Up is good enough to be in this category� as a nominee. Just as the actors and director from Precious put in some of the best work of the careers, the same can be true of the animators and writers of Up. But that's all. Someday the Academy may gives its highest honor to a film made entirely in one room� but not this year.

3. Avatar. A shoe-in chosen by people not paying attention, for two very large reasons. First of all, James Cameron just won the award in 1997, and hasn't made a film since. Second, Titanic had emotional weight and specific historical resonance, Avatar does not. Then there's the animation issue. But the real second reason, is that the script is by no means special or insightful, interesting or original. People who had never mentioned the word "screenplay" in their lives had this complaint over and over about Titanic, but the direction, quality of actors, and sheer spectacle, was great enough to overcome Cameron's mediocre screenwriting talents. While this is an old story updated in new clothes, it is still an old and standard story� much like Brokeback Mountain, another fine film that just didn't deserve the award. This leaves two films left, and while 10-3 are very cut-and-dry, the final two are by no means.

2. The Hurt Locker. One of approximately 900 films to be released regarding the war in Iraq, most of them largely forgettable. The Hurt Locker sets itself apart for all the reasons you've read�it is a timeless story, the focus is on the people and not the politics, Kathryn Bigelow is awesome, Jeremy Renner is the finest young actor you've never heard of. These are all true. I was more curious to see this film than all the other Iraq movies, for just that reason. I wasn't disappointed, and this is a truly great film that really does have the ability to render you in awe, if you let it. But watching it, can one really say, "This is an Academy Award Winner for Best Picture?" Bigelow shot reels upon reels of film, and may well win a Best Director Oscar. And until about a week ago, I had this film as #1 on my list. Then I watched it again� Best Pictures are not made to be watched once and then forgotten.

1. Inglorious Basterds. More like Chicago than The Return of the King, this is a sweeping epic for which lightning really may strike this year. Thanks to the relentless hype machine, the filmmaker and his film are not under the radar, nor mysteries. Whether people love or hate this film, they have actually watched it. And it is the Academy�not the popular vote�who gives the award. Whether you look at Wings (1927), The Apartment (1960), Titanic (1997) or The Lord of the Rings: The Return of the King (2003), this film more than anything else on this list left movies different. The filmmaker created this � thing, this experience, and created images, made us feel things, gave us things to talk about that are both broad, and specific right down to the now, whether you're watching the movie in 2010 or 2035. Popular opinion has Basterds way down the list, far below Avatar or Up or New Moon. But let's remember one thing most critics consistently seem to forget�this is an award given by the people who make the films. And next month the film will win Best Picture� and in 25 years you can watch it again, and smile as you get nostalgic for that strange, controversial, violent, divisive yesteryear that was 2009.

CREG LOVETT:

I have seen all of this year's Academy Award Nominees. The Academy did not even nominate the best films, actors, writers or animators. The Oscar award was created to promote the studios, so that is how the Academy voters make their choices. They are rich social liberals from the 1950's. They are hopelessly out of touch with American society, and uninterested in Art. I'll make my predictions quickly because I have asked 2 of my favorite local critics to present their picks.

Best Picture goes to The Hurt Locker because a war movie with no point of view and no message is what passes for innovation in Hollywood. Avatar is a close second, but it with its hamfisted mash-up of world religions, philosophies and perspectives, it could have been directed by DJ AM for less $$.

Best Director goes to Kathryn Bigelow for reasons listed above. Not because she's a female. Though she is, and she's a foxy 60 year old action film director. If you haven't seen Strange Days, get it from Netflix. By the way, she directed Point Break. You love it.

Meg Ryan must be rolling over in her grave because Sandra Bullock is THIS CLOSE to winning Best Actress for doing what she was once the best at. I've seen the Blindside. It's the most unintentionally racist movie about racism since Crash. You'd have to be Canadian for this Hallmark Channel clunker to teach you anything about American culture. Luckily Merryl Streep will win Best Actress for playing Julia Child in Julie and Julia.

Best Actor will be Jeff Bridges. Waylon Jennings never looked more like Waylon Jennings when Bridges first takes the "stage" in a New Mexico bowling alley. His performance is unreal. Just look at the way he hold his guitar. Crazy Heart is also the most experimental film in the bunch. Look at the beyond-extreme-close-ups on Bridges face throughout the first two acts. A bonus is that the second half of the movie is set in Houston. The only thing they could have done to make this movie better for me is if it had been a 6 or 7 hour epic bio-pic, or if they'd have had Ryan Bingham had replaced Colin Farrell.

Best Supporting Actress can only go to Mo'Nique for playing one of the best villains I've ever seen as the mother of Precious in Precious. If I'd have had a vote, I'd have voted for her, the film and the script. It's a special movie. Don't miss it.

Best Supporting Actor will go to Christoph Waltz.

Best Animated Feature will go to UP, but the actual best cartoon movie wasn't even nominated. Ponyo came out on DVD last week. It's the best animated feature in a several years.

Best Adapted Screenplay will go to Up In The Air, but In the Loop was by far the best, smartest most clever script of any movie I saw this year.

Best Screenplay will go to Inglorious Basterds because I'm the only person who can't stand Tarantino's unnatural, not believable dialogue. A Serious Man was far better. Me, and Orson Welles should have been nominated here, as well as Best Actor for Christopher McKaye. Richard Linklater's movie was inexplicably not distributed even though Zach Efron and Claire Danes were great, the script was better, and Christopher McKaye played the best Orson Welles I have ever seen.

Best Foreign Film will be Un Prophete.

Best Documentary Feature will hopefully go to The Cove for exposing the slaughter of 35,000 dolphins ever year in a small Japanese fishing village. The dolphins are sold as phony whale meat to unsuspecting Japanese. The legendary trainer behind the Flipper TV series shows just how smart and benevolent dolphins are, and then he shows us horrifying footage of the dolphins being mercilessly murdered by poor fisherman. It is as compelling as any documentary I've ever seen. It is terrifying and inspiring at the same time. This was the most memorable movie I saw in the past year. Please don't forget to see this movie which could and would change your life if you watch it today. www.thecovemovie.com

Labels: Moo-vies, Public Service Announcements, Random Rambling, Things To See

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