On Sunday, July 18th, I took my trusty Canon camera and boarded a bus to get as close as possible to the shooting at Michigan and Wacker, right at the bridge that leads to the Tribune building and the Gleacher Center, where the University of Chicago holds classes.

As I walked the final couple blocks, three huge explosions could be heard. This would be in line with the fireballs, skydivers and wrecked autos that were said to be littering the place. Tribune employees reported that, during the day, they could see star Shia LaBoeuf running to and from one rock to a pile of debris (cars, mostly) several times. This time out, Shia’s co-star is Rosie something Whiteley, a former Victoria’s Secret model. She replaced Megan Fox, who seems to have become embroiled in a war of words with Director Michael Bay, who chalked up her mild criticism of the “scream-and-run” school of acting to her extreme youth. (She’s 23). I saw no similar criticism of Shia LaBoeuf’s nearly identical comments within a “Vanity Fair” article on the Michael Douglas reprise of his Gordon Gekko role on “Wall Street: Money Never Sleeps,” due out soon.

It was boring standing there hoping the car (pictured) would fall into the Chicago River, and I can only imagine that it would be even more boring to have to run from a pile of wrecked cars to a rock several times, convincing people that a child’s toy gone wild is threatening the Earth.

I did read that, this time, Chicago will really represent Chicago, rather than Gotham City as it did in the last “Batman” movie. That will be nice, and I will be able to say I saw the filming, which, really, would be more accurately phrased as, “I heard the filming, on Sunday, July 18th, 2010.”

Viggo Mortensen at the 2008 Chicago Film Festival.

In the 1980 film “American Gigolo,” Richard Gere boldly went where no male actor had dared go before: full monty on film. As Julian Kaye, Richard had a scene standing next to a window in a bedroom (with co-star Lauren Hutton) that started a trend that shows no signs of  abating. It was an important moment in cinema: a break-through,  baring one’s all for one’s art.
Here are 10 examples of Full Frontal since Richard let it all hang out (pun intended).  It does not include those that are closer to porno, like the shower scene in 1980’s “Can’t Stop the Music” with Valerie Perrine (The Village People sang “Y.M.C.A.” in that one, which pretty much tells you everything you need to know about the film’s quality) and it doesn’t include the edited sequence(s) in “Fast Times at Ridgewood High” or the really obscure Dutch film “The 4^th Man” (Paul Verhoeven). The list also excludes “All the Right Moves” (1983) with Tom Cruise and Lea Thompson, where the camera lingered lovingly over the near-naked pair and panned downward.

And, since I’ve mentioned Tom Cruise, it doesn’t include FEMALE full frontal nudity, which has been done  to death for years. If it did, I’d be citing “Risky Business” and the scene with Rebecca DeMornay removing her dress to reveal  she had nothing on underneath, because Tom was not the one showing skin on the silver screen that time. There was also the overly long “At Play in the Fields of the Lord,” with Tom Berenger wearing almost nothing and Darryl Hannah literally wearing nothing, but I’ve left it off the list, too, because that  film about missionaries bringing more than just religion to the poor oppressed natives of South and Central America had  Tom wearing almost nothing, but I think there was a loin cloth or some such involved in the scene where he is nearly starkers.

So, who/what are the few, the bold, the Full Monty Minions?

Here are 10 that you can check out at your leisure. In some cases, don’t blink or you’ll miss it/them. Number Ten represents full frontal male nudity, but not from the likes of  Tom Cruise or a Richard Gere (more’s the pity).

1)      Richard Gere, (1980), “American Gigolo” and  “Breathless” (1983)

2)      Harvey Keitel, “The Piano” and “Bad Lieutenant” (Harvey took it off so often that, for a while, people were saying that it wasn’t truly an indie film unless Harvey was nude in it. More’s the pity that the actor enjoying nudity so much wasn’t someone a lot more attractive; you almost had to shout “Put it on! Put it on!” from your seat in the audience.)

3)      Jason Segel, “Forgetting Sarah Marshall”

4)      Ewan McGregor: “The Pillow Book,” “Trainspotting,” “Velvet Goldmine,” “Young Adam” (And you thought Harvey Keitel was addicted to shedding his clothes at the drop of a plot point.)

5)      William H. Macy, “The Cooler.”

6)      Bruce Willis, “The Color of Night” (swimming pool scene)

7)      Kevin Bacon, “Wild Things”

8)      Jaye Davidson, “The Crying Game” (Is he a he or a she?)

9)      Viggo Mortensen, “Eastern Promises” (One of the most horrifying fight sequences ever filmed.)

10)  Also, although hardly “star” turns, (which the list above is mainly involved with),

let’s not forget the fat guy in “Borat” (Ken Davitian), the phallic scene in “Boogie Nights” with Mark Wahlberg (no, it wasn’t all real), and the guy offering a beer in “Walk Hard: the Dewey Cox Story.”

So, there you have it: men who will bare their souls…and a lot more…for their art. Actors who have actively stripped to wearing nothing but a smile. Enjoy!

Forty-one-year-old Director Vincenzo Natali, was the storyboard artist for a lot of impressive films, going all the way back to 1991’s “Beetlejuice” before stepping up to direct back around 2000. Natali wrote and directed “Cube” in 1997, and he has done double-duty as writer and director on “Splice,” as well.

The film opens with some heartbeat noises and there is a birth scene that is pretty impressive. The director also seems to have a sense of humor, as the secret lab where Dr. Frankenstein-like attempts to create new life are taking place is labeled NERD, standing for “Nucleic Experimental Research Development.”

In this lab lovers Sarah Polley as Elsa and Adrien Brody as Clive have created some disgusting-looking critters that are being bred to give off valuable proteins and enzymes that will reap rewards for the drug company funding their efforts. The creatures look like nothing so much as male genitalia that have learned to move around inside a cage. The two gung-ho scientists, who are portrayed as hot shots in their field, are to give a big presentation in front of their colleagues, which goes about as well as the King Kong stage scene in that classic monster movie. (“Don’t worry, Folks. He can’t escape.”) We expect disaster and we get it, because the cloned creatures have changed sex from female to male, meaning a critter-a-critter bloody fight to the death onstage, in front of thousands of their scientific colleagues. Embarrassing…and bloody. And, additionally, the two scientists are no longer such hotshots and their lab is in danger of imminent shutdown.

But Elsa (Sarah Polley), who seems ambivalent about giving birth herself after 7 years together as a couple, does want to try to clone a creature that is a little bit of this and a little bit of that: part human, part bird, part amphibian, part reptile, etc. The kicker is that Elsa provides her own DNA so that the lab serves as a surrogate mother for the diabolical experiment that Clive (Adrien Brodey) is opposed to from the start.

“Don’t worry,” Elsa reassures him. “We won’t take it to term. We just will know if we can generate a sustainable life form.” And there is always Elsa’s line, “What’s the worst that can happen?” We’re going to find out. And it’s an intensely graphic violent adventure that combines discussions about morality with the usual “How do you kill a monster?” stuff.

What the two lovebird scientists create initially is primarily a pretty hideous-looking CG creature. It continues to evolve outside the artificial “womb,” however, and, in time, Dren, as the duo name the creature, even begins to bear a resemblance to its human “mother.” The creature, which has bird-like legs, is quite human looking from the legs up, and is played by actress Delphine Chaneac in later scenes.

When the developing Dren becomes too big to hide in the lab, she is moved to a family farm that the mysterious Elsa has inherited from her family, a family that does not seem to have been quite right in the head. We learn very little of the trials and tribulations of the young Elsa, but we learn enough to know that her childhood was not straight out of a Disney movie.

The only problem with hiding Dren in the deserted farm is that Dren is bored and tries to escape at various points and attendance at work for one or both of the scientists become sporadic at best and non-existent at worst, dropping their status from hot shot stars to endangered species. (One funny exchange regarding Dren in the barn: “Don’t worry. She’s not gonna’ leave us,” from Elsa to Clive. Clive’s response: “She just did” as Dren flies off.

Yes, flies. Dren can do lots of things that humans cannot do, including breathe underwater and fly. The creature is one of the most intriguing and interesting other-worldly figures created on film since “Alien.” The human part comes through clearly, although Dren has no hair and seems to have a scar down the middle of the forehead of her otherwise attractive face.

There is an interesting scene where Clive dances with Dren to “Begin the Beguine” and a horrifying scene where Dren’s “Mother,’ (Elsa) feels it necessary to surgically remove Dren’s “stinger” against her will, because the stinger is lethal. (And, apparently, regenerates, if amputated.) There’s also the dispensable character that you just know is going to be picked off first, if anyone is.

Lots of bad things start to happen, as we knew they would, leading to charges that, “You’ve become something sick” (Clive to Elsa) and “We changed the rules. We got confused about right and wrong,” from Clive. Wistfully, he says, “I just wish things could go back to the way they were.”

As we all know, once the genie is out of the bottle, it’s hard to put it back in, leading, ultimately, to some interesting sequel opportunities.  Will Brody reprise his role? Stranger things have happened on film, but it looks more like Elsa will take this series to the next level in “Splice 2.”

The special effects are…well…special and it doesn’t hurt to have the London Philharmonic Orchestra recording such songs as ‘Night and Dren.” Shot in Toronto, this film opens up interesting ground for discussion about cloning and its implications for mankind. I’m really looking forward to the sequel and thoroughly enjoyed this first “Splice” film.

Today, that baseball diamond carved out of a cornfield is for sale for $5.4 million dollars. The sellers are Don and Becky Lansing and the 193-acre plot has been used as a tourist stop ever since the movie came out, with the 2-bedroom farmhouse, 6 buildings including a concession stand and the diamond up for purchase.

Realtor for the sale is Ken Sanders who went 29-45 with a 2.97 Earned Run Average for 8 major league teams during 10 seasons in the 1960′s and 1970′s, before he became a real estate agent.

The title refers to the practice begun by Ettore Solimani in 1937 of replying to the love letters for advice left at the Juliet memorial in Verona, Italy. As many as 7,000 letters come in, and, in real life, twelve secretaries answer them. (2 are men). It’s even possible to send them by e-mail at info@julietclub.com or to snail mail them addressed to “Juliet, Verona, Italy.”

In the film, Sophie Hall (Amanda Seyfried) and her soon-to-be husband Victor (Gael Garcia Bernal) take a “pre-honeymoon” trip to Italy, since Victor is soon going to be opening a restaurant in New York City. Victor is the kind of fiancée who seems like he has serious ADHD or some other ailment that renders you overly effusive. No matter what the comment, he would exclaim as though it was the Second Coming. He was very irritating after about 10 minutes. One wondered what Sophie’s character found so charming about him, especially since his workaholic tendencies immediately manifested and he was off to this wine auction or that vineyard, leaving Sophie to amuse herself in gorgeous Italian locations like Siena, Tuscany, Soave, and Verona, where Sophie follows the girl gathering the letters to Juliet and discovers the fact-checkers (reduced in number for the film version, and all female).

As luck would have it, Sophie also discovers a letter long-hidden behind a loose brick, which turns out to be from Claire Smith (Vanessa Redgrave) of England. Sophie answers Claire’s letter, which is 50 years old, and Claire and her grandson Charlie, whom she raised, come to Verona looking for a love of Claire’s life whom she knew when 15.

One of the flaws in the film occurs when Sophie is asked by the letter-writers if she is the English translator, since all of them seem to speak perfect English. Another is trying to pass Vanessa Redgrave off as being 65, when she is actually 73. Redgrave is more than equal to the task of portraying Claire, being the only actress to win an Oscar, an Emmy, a Tony, at Cannes, a Golden Globe and a Screen Actors’ Guild Award, but she does not appear to be 65 years young. Her grandson, Charlie, as played by Christopher Egan, who resembles a younger Ryan Philippe may look good, but he moves gracelessly and has about as much charm as a pet goldfish.

If Victor was annoying in his effervescence, Charlie is equally as unlikable in his cold fish British way. There is even a line when Charlie says of his Grandmother Claire, who raised him,  “She took the angry obnoxious young man I was and turned me into the simply unpleasant type I am today.” I couldn’t have said it better, and I’m still wondering why Sophie, with her double major from Brown with a minor in Latin, her writing talent, and her good sense didn’t dump both of these Lotharios.

The thing that makes the film fascinating is watching Vanessa Redgrave reunited with Franco Nero, her real-life husband since 2006. Since most of the film from the point that Claire and Charlie show up involves Sophie riding with them to find the love of Claire’s young life, whom she lost 50 years ago (should have made it more like 60 years ago), we know that eventually that individual will be found. The fact that it is Franco Nero, now a handsome, well-preserved 69 years young, just makes the film ring truer.

A little history:  Vanessa Redgrave was married to Director Tony Richardson from 1962 until 1967, but he left her for French actress Jeanne Moreau. Vanessa met Franco Nero while playing Queen Guinevere in 1967’s “Camelot” and the two produced a son, Carlo Gabriel Nero. However, their paths drifted apart, and Vanessa Redgrave was with Timothy Dalton (of the ’87 and ’89 James Bond films “License to Kill” and “The Living Daylights” from 1971 through 1986.) It was only after 37 years, in their case, that Vanessa Redgrave and Franco Nero rediscovered their great romance and married on New Year’s Eve of 2006. In fact, it was Franco Nero who gave away the recently departed Natasha Richardson when she married Liam Neeson.

It is perfect casting to have the two reunited lovers played by two real-life reunited lovers when lines like, “People want to believe in love” and “I didn’t know that true love had an expiration date” resound throughout the film, courtesy of screenwriters Jose Rivera and Tim Sullivan.  Gary Winick directed the film and Ellen Barkin was one of the film’s producers.

For me, the gorgeous scenery, very reminiscent of Diane Lane’s “Under the Tuscan Sun” or Keanu Reeves’ film “A Walk in the Clouds,” was a great treat, and the female leads were fine (although I do have the previously noted comment about Redgrave trying to play 65.) However, both of the male leads were lacking. Hugh Dancey was originally supposed to play the Victor lead, and I’d never seen Christopher Egan, who plays Charlie, before. Not only does Charlie come off as stiff and unlikeable throughout, there is almost no reason to believe that the two will fall madly in love, when they have only one chaste love scene.

The use of “Love Story” (Taylor Swift) in one park scene is great for music selection and the phrases, “When we’re speaking about love, it’s never too late’ and “If what you felt then was true love, why shouldn’t it be true now?” will probably spice up some high school reunions this season. The main reason to see the film, however, is the scenery and the performance by Amanda Seyfried,  finally coming into her own as a leading lady.

Since then, Aaron Paul’s career has taken a less wholesome trajectory, as far as the role he is best known for,  that of the tweaker and heroin addict Jesse Pinkman on “Breaking Bad.”

Paul has said that he owes series writer Vince Gilligan his career, as Gilligan remembered him from a role on “The X-Files” where he played a character known as Sky Commander Winky, which had been Gilligan’s college nickname.  When Paul auditioned for “Breaking Bad” and blew his lines, Gilligan remembered him from “The X-Files.” He cast him for one season’s work on “Breaking Bad” as Jesse Pinkman. Jesse (Aaron) was to have been killed off at the end of season one.

Says Gilligan of the decision to retain Paul beyond season one, “I didn’t realize the depth, humor and pathos Aaron could bring.  He was so excellent.  I told Aaron I wasn’t going to kill Jesse, but I couldn’t promise I wasn’t going to torture him.”  Jesse’s tortures, so far, have increased viewership by +17%, to about 1.3 million viewers per episode, and his stint as the clean-cut Scott on “Big Love” didn’t hurt, either.
Long before Aaron was Jesse or Scott he was appearing in independent films and a variety of TV series, such as “The Guardian,” “CSI,” “CSI: Miami,” “E.R.”, “Bones”, and a music video for the band “Korn” that accompanied the song “Thoughtless,” a video which was directed by the Hughes brothers.

Appearing on Carson Daily’s late night show on Monday night, May 16th, Paul told the host, “The Hughes Brothers directed it (the Korn video) and I just jumped onboard with it and it was fun.”  He added, “It’s just a dream to work in this business.”

The two were meeting at Citizen Smith’s Bar and Restaurant.  To questions from Daly about whether he minds being associated with his work in National Lampoon’s Van Wilder, Paul replied, “I always get people accosting me for Van Wilder.” Said Carson, “That must drive you nuts.” Paul responded good-humoredly, “No, it’s fine.”

The gifted Paul seems genuinely grateful to be on “Breaking Bad,” saying, “When I first read the script, I thought to myself, I mean, it’s brilliant, but there’s no way this is going to make it on the air.  There’s no way they’re going to pick this up.  I applaud AMC for having the balls to do it.  I found myself laughing at scenes where Jesse is trying to melt a body with acid, but it’s pretty dark stuff.”

Asked Carson, “What did you know about tweakers and meth/amphetamine addicts before the show?” Paul replied, “It never really got a hold of me, but I definitely saw how it affected people. It is a dark side world.”

Paul’s co-star, Bryan Cranston, who plays Walter White, the meth chemist and was previously best known for playing the father in “Malcolm in the Middle,” said, “Aaron’s capacity to convey someone who is daring and vulnerable, to bring likeability to an unsympathetic character is astonishing.”

Carson Daly asked Paul about shooting in Albuquerque, mentioning that he(Daly) had motorcycled through there while traveling Route 66 and that he “did not have a great time.” Said Paul, “It’s nice to get out of L.A., but there’s really not much to do.  They just like that it’s being shot in their city. Some people like it. Some people hate it.”

Paul continued, “I owe Vince (Gilligan) for my career,” and reminisced about his job as an usher when he first hit L.A., saying, “It was the first and only time I saw Steven Spielberg in person.”  The overnight success that Aaron Paul is now enjoying (a film, Wreckage, is due out in 2010) was really 13 years in the making.

Gilligan told “T.V. Guide,” “Aaron’s a star in the making.  He has great charisma, wonderful range.  He’s the whole package.  But he’s also one of the sweetest guys around.”

Paul—who has been linked to actress Jessica Lowndes—said, “I love the story (of “Breaking Bad”), the nice layers—the role is just incredible.” Check it out on AMC; it’s one of the best series now on television.

In a lengthy article entitled “Hollywood’s Top 40” (March, 2010 Vanity Fair) details of “who makes what” are given in an article that runs from page 272 to 275.  The list includes information on each individual, telling what films or television projects they were involved in during the preceding year, but let’s just cut to the chase and list them, as follows:

#1)  Michael Bay – $125 million

#2)  Steven Spielberg – $85 million

#3)  Roland Emmerich – $70 million

#4)  James Cameron – $50 million

#5)  Todd Phillips – $44 million

#6)  Daniel Radcliffe – $41 million

#7)  Ben Stiller – $40 million

#8)  Tom Hanks – $36 million

#9)  J. J. Abrams – $36 million

#10)Jerry Bruckheimer – $35.5 million

#11)Tyler Perry – $32.5 million

#12)Adam Sandler – $31.5 million

#13)Denzel Washington – $31 million

#14)Emma Watson – $30 million

#15)Rupert Grint – $30 million

#16)Owen Wilson – $29 million

#17)Nicolas Cage – $28 million

#18)Russell Crowe – $28 million

#19)Cameron Diaz – $27 million

#20)Brian Grazer and Ron Howard – $25.5 million

#21)Johnny Depp – $25 million

#22) Steve Carrell – $25 million

#23)Robert DeNiro – $24.5 million

#24)Sarah Jessica Parker – $24 million

#25)Katherine Heigl – $24 million

#26)Shawn Levy – $23 million

#27)Oren Peli and Jason Blum – $22.5 million

#28)Robert Downey, Jr. – $22 million

#29)George Clooney – $22 million

#30)Matt Damon – $22 million

#31)Reese Witherspoon – $21 million

#32)Angelina Jolie – $21 million

#33)Jennifer Aniston – $20 million

#34)Sandra Bullock – $20 million

#35)Robert Pattinson – $18 million

#36)Clint Eastwood – $17 million

#37)Kristen Stewart – $16 million

#38)Mark Wahlberg – $16 million

#39)Shia LaBoeuf – $15 million

#40)Brad Pitt – $13.5 million

“Avatar” won 3 Oscars, when all was said and done, one for Visual Effects, one for Cinematography and one for Art Direction. “The Hurt Locker,” meanwhile, raked in the Oscar for Best Picture, Best Director (Kathryn Bigelow), Original Screenplay (Mark Boal), Best Film Editing, Best Sound Mixing, and Best Sound Mixing.

After those two gorillas in the jungle, the numbers dropped off rapidly: only “Crazy Heart” (with 2) and “Crazy Heart” and “Precious” with 2 apiece challenged for awards this night.

The evening opened with a lame song-and-dance number by Neil Patrick Harris, who had actually been good in this role on an earlier awards show. Neil Patrick Harris sang a song whose message whose message was “No One Wants to Do It Alone.” This is true, and is probably why Alec Baldwin and Steve Martin shared hosting duties for the 82^nd annual Oscars. I was disappointed in their performance, as they are both so funny and quick-witted, individually, but their scripted stuff was somewhat weak…although not as weak as Kathy Ireland’s red carpet interviewing. None of the people doing the red carpet interviews this year impressed, least of all Kathy, Sherry from “The View” or the editor of “People” magazine (I think). I never thought I’d say it, but give us back Joan and Melissa Rivers. Army Archerd just died, so he’s definitely out. What about somebody like Mario Lopez or Joan Hart or, really, just about anybody but this trio.

The winners this night were as follows:

Best Picture: “The Hurt Locker”

Best Director: Kathryn Bigelow (first woman director to win)

Best Actor: Jeff Bridges (for “Crazy Heart”)

Best Actor in a Supporting Role: Christoph Waltz in “Inglourious Basterds”

Best Actress in a Supporting Role:  Mo’Nique in “Precious”

Best Animated Feature Film:  “Up”

Best Original Screenplay:  “The Hurt Locker” by Mark Boal

Best Adapted Screenplay:  “Precious”, Geoffrey Fletcher

Best Foreign Language Film:  “The Secret in Their eyes” (Argentina)

Best Original Score:  “Up” (Michael Giacchino)

Best Original Song:  “The Weary King” from “Crazy Heart

Best Art Direction:  “Avatar”

Best Cinematography:  “Avatar” by Mario Fiore

Best Costume Design:  “The Young Victoria” (Sandy Powell)

Best Documentary Feature:  “The Cove”

Best Documentary Short Subject:  “Music by Prudence”

Best Film Editing:  “The Hurt Locker” (Bob Murawksi and Chris Innis)

Best Makeup:  “Star Trek”

Best Animated Short Film:  “Logarama” (French, 16 mins.)

Best Live Action Short Film:  “The New Tenants”

Best Sound Editing:  “The Hurt Locker”

Best Sound Mixing:  “The Hurt Locker”

Best Visual Effects:  “Avatar”

Sandra Bullock’s acceptance speech was the most affecting of the night, for me, as she said, “To that trailblazer who allowed me to have this extraordinary opportunity—and to my lover, Meryl Streep.” Sandra also referenced a time when George Clooney had thrown her into a swimming pool and almost choked up during her acceptance speech. I also enjoyed Mo’Nique pointing out that, at least in her case, the award was truly given for the performance. I agree with that, having seen all the nominated performances, but it didn’t hurt any that Oprah got behind the film Big Time, so that somewhat contradicts Mo’Nique’s comment that politics was not a factor in her win. (She also shared TMI during her Barbara Walters interview, telling the world that she does not shave her legs and has an open marriage with her spouse.)

The evening ended on as always-hurried note, with the dynamic duo of Steve Martin and Alec Baldin signing off very quickly.

Most of the winners were not a surprise, with Jeff Bridges and Sandra Bullock and Christoph Waltz and Mo’Nique winning, as expected.

First, let’s consider the 5 that Academy members have already nominated:

1) Anna Kendrick for “Up in the Air.”

2) Vera Farmiga for “Up in the Air.”

3) Maggie Gyllenhaal for “Crazy Heart”

4) Mo’Nique for “Precious”

5) Penelope Cruz for “Nine”

Let’s consider, for a moment, the current official nominees and their chances. I have not seen Penelope Cruz in “Nine,” but I watched a Charlie Rose roundtable discussion of the film in which critics from both coasts described the movie as a mess. It seems obvious that the two fine actresses nominated for “Up in the Air” are likely to cancel each other out. Maggie Gyllenhaal’s movie, “Crazy Heart” has not been distributed nationwide until recently, so few have seen it. It is also not that “showy” a role, nor is she onscreen that long. Mo’Nique, who has Oprah pulling for her, is a virtual lock on this award, from the performances I’ve seen (4 out of 5). In a moment I’ll return to the actual nominees and tell you why I feel they are as deserving as the additional five I’ve been asked to pick.

The others that I would recommend to the Academy as good or better than the current crop of nominees would include these fine actresses, and my reasons for recommending their performances this year:

6) Samantha Morton in “The Messenger”- Samantha Morton (5/13/77) has been nominated for two Oscars previously, once for “In America” in 2002 for her role as Sarah, who has lost a child, and again for “Minority Report” with her role as Agatha, one of the future-telling floating mystics in the pool whom Tom Cruise consults. She has also had roles as Hazel in 2008’s “Synecdoche, New York,” a puzzling film by screenwriter Charlie Kaufman. In “The Messenger” Samantha plays Olivia Pitterson, the wife of a soldier killed in Iraq. Her co-star in the film, Ben Foster (as Staff Sergeant Will Montgomery) talked about how excited he was to be starring opposite an actress of Samantha Morton’s caliber when he appeared with the film at the Chicago Film Festival. At the time, said Foster, Morton had just given birth and was often busy nursing her newborn child when not onscreen. Samantha Morton is a serious, fearless actress who has earned an Oscar nomination, more than nominees #1 and #2, above.

7) Sigourney Weaver in “Avatar” – Weaver (8/8/49) has been nominated for 3 Oscars during a long career. (She turned 60 in August).  In 1987 she came to fame as Ripley in “Aliens,” for which she was nominated as Best Actress. In 1999, she was nominated for her part in the film “Working Girl.” In 1989, her last nomination, she was nominated for playing Dian Fossey in “Gorillas in the Mist.” Weaver has also earned plaudits, including Saturn and BAFTA awards for her roles in “Alien Resurrection” in 1997, “The Ice Storm,” and “Galaxy Quest,” a 2000 spoof of her “Alien” roles that won her a Saturn award. Surely an actress who has been doing good work this long deserves a nomination more than an actress whose only previous leading roles were in the teen vampire movies “New Moon” and “Twilight”? This year’s role of Dr. Augustine in “Avatar,” the best-selling movie ever, would seem to be as worthy as Anna Kendrick’s or Vera Farmiga’s, and she has paid her dues much more than either of those decades-younger actresses.

8) Amy Adams in “Julie and Julia,” opposite Meryl Streep, was criticized in the role, for reasons that seemed bogus, to me. As Julie Powell, the young girl who decides to make every single recipe in the Julie Child cookbook, she did a good job…at least as good as Maggie Gyllenhaal’s role in “Crazy Heart.” In addition, Adams has been on a hot streak. She co-starred (again, with Streep) in “Doubt” as Sister James in 2008 and had a role in 2007’s “Charlie Wilson’s War” as Bonnie Bach. She also appeared as Giselle in 2007’s “Enchanted” and as Brenda Strong in 2002’s “Catch Me If You Can” with Leonardo DeCaprio.

9) Natalie Portman (6/9/81) played Grace Cahill in this year’s “Brothers.” She was the stay-at-home wife of 2 small daughters, left behind on the home front as her husband, Toby Maguire went to war. Jake Gyllenhaal plays toby’s brother in the film. For reasons that can be attributed to post traumatic stress disorder, Toby’s character becomes convinced that his brother (Jake Gyllenhaal) has had a relationship with his wife (Natalie Portman) while he was off fighting in the war. Ultimately, Toby has a classic Oscar-worthy meltdown. Natalie, who has previously played roles as varied as the lead in “V for Vendetta” (2005) and in 2 “Star Wars” episodes, must project strength for her children’s sake and the stand-by-your-man attitude of a good woman who truly loves her troubled husband. Natalie did a great job, and her previous role as Alice in “Closer”, Sam in “Garden State,” Sara in “Cold Mountain” and in the film “Anywhere But Here” are just a few of the wonderful performances she has provided audiences with, prior to this year’s overlooked film, “Brothers.”

10) The 10^th spot as a nominee for “Best Supporting Actress” should go to one of two female supporting performances from the film “Precious.” The unknown actress Paula Patton, portraying Ms. Rain, the teacher who helps Precious discover her potential, is one possibility, but far more intriguing would be Mariah Carey, who eschewed all make-up and fancy wardrobe for her role as the social worker, Mrs. Weiss. At first, watching the film, you can hardly believe this is the same Mariah Carey whose plunging cleavage recently graced the Golden Globes. Carey’s debut film, “Glitter,” was an unmitigated disaster. Director Lee Daniels made sure that Mariah (and, for that matter, rocker Lenny Kravitz in a small role as a male nurse) really inhabited roles that are the antithesis of their normal rock star images. Carey was recognized for the good job she did as the disgusted social worker who can hardly believe the self-serving, narcissistic rantings of Mo’Nique as Precious’ mother. Not only did Carey win a Palm Springs Award for Breakthrough Performance Award for her part, but she also won a Capri (Hollywood) role for Best Supporting Actress. In addition, she was nominated (as part of the ensemble) for awards by the Washington, D.C. Area Film Critics Association, the Screen Actors’ Guild (cast nomination), the Broadcast Film Critics’ Association Best Acting Ensemble award, the Boston Society for Best Ensemble Award and was nominate for a Black Reel award.

If I ruled the Oscars and there were 10 nominees in the Best Supporting Actress category (rather than simply 5), these would have been my nominees. (And, no, I haven’t totally forgotten about Betty White’s turn as Ryan Reynolds’ grandmother in “The Proposal.”)

A McCarthy newspaper writer named Valerie Kellogg wrote “75 Things You May Not Know About Elvis” at the time of his birthday. Some of them amused me…not all, but some. Plus, we recently visited Graceland in Memphis, so I decided to throw out the less-interesting or more well-known “things you might not know” about Elvis, insert a few of my own, and shorten Kellogg’s article to a mere fifty. So here goes:

1)      Elvis’ first 2 recorded songs cost him $4 at Sun Studios in Memphis, where he recorded “My Happiness” and “That’s When Your Heartaches Begin” as a gift for his mother, Gladys.

2)      Elvis is Norse for “all wise.”

3)      When he was 15 months old, Elvis almost died in a Tupelo, Mississippi tornado, which would have meant that he would have joined his dead-at-birth twin Aaron.

4)      At age 1, Elvis enthusiastically joined an Assembly of God church service choir in singing, wriggling away from his mother’s grasp to do so.

5)      At age 10, Elvis placed fifth singing “Old Shep” at a children’s talent show, thereby surpassing Michael Jordan, who got cut from one of his first basketball teams.

6)      Songs recorded: anywhere from 600 to 1,200. [With mixes like “A Little Less Conversation” being released many years after his death, that number could change.]

7)      Sometimes, Elvis would sign “Elvis” on a female fan’s left breast and “Presley” on the right. (There is no truth to the rumor that this gave rise to the term “double-breasted.”)

8)      Elvis’ maternal grandmother was Jewish, so Elvis added a Star of David to his mother’s gravestone in the mid-sixties. (Since most of the family is buried out back at Graceland in a weird circle that tourists visit, I assume it is this tombstone. It is just a stone’s throw from the really small tea-cup-sized swimming pool that looks like it belongs behind a Hampton Inn in St. Louis.)

9)      Other ethnic derivation for Elvis Presley:  Scottish, Irish, German, Welsh, Cherokee Indian and French. (A little something for everyone.)

10)  “Can’t Help Falling in Love”, a 1961 Presley hit, is set to the melody “Plaisir D’Amour,” an 18^th century French love song.

11)  Presley hated fish. He wouldn’t allow Priscilla to eat fish at Graceland. We all know he loved fatty, deep-fried goodies, and he also loved biscuits and gravy, potato/cheese soup and meatloaf with mushroom gravy. The dining room table at Graceland, however, was not very large, (considering Elvis’ fame and fortune). It is hard to imagine seating more than 11 or 12 comfortably in the cramped dining room. The room isn’t big enough and the table isn’t big enough.

12)  Presley preferred sponge baths.

13)  Presley worked as an usher at Lowe’s State movie theater in Memphis. He was fired when he was discovered taking free candy from the girl working the concession stand.

14)  Presley was honored, while in the Army, by his commanding officers for “cheerfulness and drive and continually outstanding leadership ability.”

15)  Germans called Presley “the rock-and-roll matador.”

16)  Elvis smoked thin German cigars.

17)  Elvis’ big disappointment while in Germany in the Army? He never got to meet Brigitte Bardot. (I think we can all relate to that.)

18)  Presley’s movie idol? Tony Curtis.

19)  Hair dye used? Miss Clairol 51D, “Black Velvet” and “mink brown” by Paramount, to make his hair look black onscreen in movies. He once dyed his hair with black shoe polish in his do-it-yourself days. He also dyed his eyelashes, which caused him health problems later in life. (Good thing he didn’t EAT the dye).

20)  In 1956, Elvis made “Love Me Tender” and in 1957, he did “Loving You.”  In the hiatus between filming these two epics, he had plastic surgery on his nose, had his teeth capped, and had his acne professionally treated.

21)  Elvis dated Natalie Wood, but only for a very brief period. He said he didn’t like the way she smelled. (No report on what Natalie Wood thought of the sponge-bathing Elvis’ scent.)

22)  “Unchained Melody” was a song he only performed during the last 6 months of his life.

23)  Unverified reports claim Elvis’ range spanned three octaves, but unverified reports of the day also said that the Colonel (Tom Parker) would have another singer interpret the song while Elvis listened and then Elvis would  record the song after hearing it sung by someone else. It is also true that Elvis never did a World Tour, which was because of legal problems that Colonel Tom Parker, his dictatorial manager, faced in travel outside the country. (The Colonel had passport problems.)

24)  Presley had a slight stutter.

25)  Elvis used A&D ointment to keep his lips soft.

26)  Elvis recorded 15 songs with the word “blue” in the title.

27)  Some strangely titled Elvis songs include: “Queenie Wahini’s Papaya,” “Yoga Is as Yoga Does,” “There’s No Room to Rhumba in a Sports Car.”

28)  Elvis began using “Also Sprach Zarathustra,” a 19^th century Strauss tone poem and theme of the 1968 movie “2001: A Space Odyssey” because he liked its rhythm and movements.

29)  UK viewers couldn’t see Elvis much-vaunted TV special “Aloha from Hawaii” because the BBC refused to pay the price for the 1972 concert.

30)  Presley and the Beatles met at his BelAir, California house in 1965, after Colonel Tom Parker forced Elvis to invite the Fab Five over. That same year, Elvis talked about joining a monastery. No word on whether he discussed entering a monastery before or after meeting the Beatles, who ended his reign as undisputed King of Rock ‘n Roll.

31)  Presley met Brian Wilson of the Beach Boys in 1975 but Wilson says that the meeting went badly. Wilson made an unexpected karate move on Presley, after Presley had asked him specifically not to do so. (I now understand why Brian Wilson spent so many years alone “in his room”).

32)  When Presley met Richard Nixon in 1970, Tricky Dick said: “You dress kind of strange, don’t you? Elvis replied, “Well, Mr. President, you got your show, and I got mine.” We didn’t find out the extent of  Nixon’s “show” until Watergate, but it’s not hard to imagine Elvis drawling that statement to Nixon.

33)  The Washington Post broke the news of that secret meeting between Nixon and Presley. [I think we’ve all heard the stories of Presley’s fascination with law and law enforcement, his desire to be named a ‘special agent,’ etc.]

34)  When Presley met Muhammad Ali, he gifted the boxer with a robe that said “The People’s Champion.” Ali, for his part, gave Presley boxing gloves that said, “You’re the greatest.” [This surprises and confuses me. I thought Ali was “the greatest?” The two probably should have traded gifts.]

35)  Once, after receiving a kidnap/assassination threat, Elvis performed with a pistol in each boot.

36)  In the early 1970’s, Presley would impersonate a police officer and pull people over and hand out autographs. He had purchased police equipment for his 36^th birthday.

37)  Some members of the Memphis Mafia called Presley “Crazy.” He turned down the opportunity to play Kris Kristofferson’s role in “A Star Is Born” opposite Barbra Streisand, because the Colonel wouldn’t let him take the part. The chance was a career-making comeback opportunity, and ex-wife Priscilla urged him to take the role. Now THAT was “crazy.” What was NOT crazy was the way Priscila turned Graceland into a moneymaker after Elvis’ death.

38)  Once, while showing a woman a karate move in his Las Vegas hotel suite, he broke her ankle. (Sounds like an instant replay of the Brian Wilson bad meeting.)

39)  In Chinese astrology, Presley’s sign was “the dog.”

40)  Four psychics told actor Patrick Swayze that Elvis was his guardian angel. If so, Elvis didn’t do a very good job of watching over the recently deceased actor, who died too young of pancreatic cancer.

41)  The year before he died, Presley was prescribed about 10,000 pills. (I wonder what the count against Michael Jackson’s final year would be: which would score highest?)

42)  When Presley played Madison Square Garden in 1972, he rented the New York Hilton’s top floor.

43)  Presley’s pet turtle’s name was Bowtie.

44)  Other Presley pets:  a basset hound, 2 Great Danes, a Pomeranian, several horses, some donkeys, some peacocks and guinea hens, ducks, chickens, a chimpanzee, a monkey and a mynah bird. His golden palomino, Rising Sun, is buried at Graceland, along with his parents, his grandmother and his twin brother who died at birth.

45)  Presley’s pet chimp, Scatter, is thought to have died of liver disease, since the chimp had developed a drinking problem. Some think a maid, whom he had bitten, poisoned the chimp. (Wonder whatever happened to Bubbles, Michael Jackson’s chimp?)

46)  Presley believed he would die in his forties like his mother, Gladys.

47)  Presley had a strange “Madonna/whore” fixation. According to Priscilla Presley’s autobiography, once she gave birth to Lisa Marie, he no longer considered her sexually desirable because she was the mother of his only child. Presley did have a longstanding attraction to co-star Ann Margret, though, and always sent her a large floral tribute whenever she opened in Vegas.

48)  When Elvis was alive, there were about 170 Presley impersonators (1977). Today, it is estimated that there are around 250,000.

49)  Presley had one room of his Graceland mansion (the house that grew like Topsy and has many wings that were added to the sprawling structure) completely carpeted in shag carpeting and sometimes recorded there. The Jungle Room, a strange futuristic circular bed with fake fur: many “Elvis’ taste was all in his mouth” moments while touring Graceland.

50)  Elvis’ last words (to his girlfriend Ginger Alden, who had cautioned him against falling asleep reading in the bathroom) were; “Okay, I won’t.”