'far from heaven'

todd haynes, 'far from heaven'

julianne moore, 'far from heaven'

chris cooper, 'adaptation'

'far from heaven'

'adaptation'

Who my nominees and winners would be in every major race.

THE BEST OF THE YEAR:

DECENT BUT FLAWED:

FAILURES:

'igby goes down'

Its series of poignant 9/11-themed vignettes mix superbly with its downbeat tale of regret.  A welcome return for Lee.

Movies don't get much better than this.  When technical values, acting, writing, and direction are in such harmony, you have to sick back in awe at how it can all come together.  A beautiful homage to the '50s.

rob marshall, 'chicago'

The director's trademarks are all present, yet an unflinching sense of the characters' true selves gets deserved equal screen time.

A stylistic joy, from the sweeping camera movements to the illusory framing devices to the presence of an unexplained harmonium -- "Love" is a director's film, complemented by lush music, editing, and cinematography.

Jonze's second feature is indeed a departure from "Being John Malkovich," but close enough in its genius to make us beg for more.

It's very hard to capture a moment in time so flawlessly that you really do feel lost in the film.  But Haynes has achived just that in this emotional tale of taboo that sinks deeper than you'd think.

nicole kidman, 'the hours'

The movie was average, but Lane's turn lifted the affair to a new level of seriousness and respect.  It was a long time coming.

There isn't an American actress today who can personify as many different shades of 'bitch' with such depth as Catherine Keener.  It's her sardonic bite that makes her characters so memorable...and tragic.

This performance was seen by so few, yet Blanchett turned in another remarkable portrayal that stands up with her best work.  As a fleeing felon, she seeks redemption angelically.

What to say about one of the year's best performances, other than Moore should finally get her Oscar due after years of slights ("Short Cuts," "Magnolia") with this pitch-perfect digression.

adam sandler, 'punch-drunk love'

WINNER

It may not be Norton's most volatile performance, but it's clearly one of his most deeply affecting and restrained.

Speaking of restraint, it's in the quiet moments of Roman Polanksi's powerful film that Brody evokes the most feeling, from his sullen eyes to his impassioned stare.

A great portrayal of two characters simultaneously, never letting the audience forget who is who -- and keeping their distinct egos intact.

This film wasn't the year's memorable Charles Dickens adaptation (that would be "Nicholas Nickleby").  But Day-Lewis' Bill "The Butcher" is so Dickensian in his evil glare, confidence, and wit it's as if he's ripped from history.

dennis haysbert, 'far from heaven'

He plays a different form of 'crazy' in almost every film, and here he became a frightfully good sexually ambiguous sycophant that just gets under your skin.

For two-thirds of the film, Goldblum plays a solid, upscale version of his usual persona.  But then he takes an unexpected dark turn, and an acting vigor rarely seen roars through.   It's shocking.

The other great Dennis from "Far From Heaven" nearly matches the inward beauty of Julianne Moore by suppressing an unspeakable rage that should have been recognized years ago.

Cooper is at once hilarious, mocking, sentimental, crafty, murderous, vengeful, witty, urbane, and brilliant as an orchid thief knowing no bounds.

'y tu mama tambien'

For one scene:  Adam Sandler caressing Emily Watson in bed, saying "I love you so much I want to smash in your face with a sledgehammer."  Love doesn't get more brutal.

Nicole Holofcener never takes away the dignity of her characters, even if they're clearly worthy of contempt (and condescending to each other).  It's a great talent, and a good film.

Critics used to complain about how the cast of "Dawson's Creek" spoke with a vernacular far beyond believability.  Well here is a wisened cast, with Burr Steer's believably apt words.

Todd Haynes ran the gamut of shocking to tender to romantic to conflicted in the span of about two hours.  It's not far from cinematic heaven, and it displays what a breakthrough talent he is.

isabelle huppert, '8 women'

After so many years as a dramatic actress, it's refreshing to see Streep snort flower dust and hum the notes of a dial tone.   In fact, it's a rewarding change.

Clarkson only has a few small scenes, but she tears into them with such conviction that it's a pity she doesn't feature more prominently.  As it stands, she contributes strongly to a great ensemble.

'about a boy'

This could potentially be the most metaphysical and mind-warping screenplay of all time.  That's not an overstatement; it's true.   Layer upon layer are interwoven, sometimes being written as we watch.

bebe neuwirth, 'tadpole'