(original) WORD UP

Our final award of the night (you think the Oscars take a long time), is presented by the lovely Holly Hunter. Have you seen Copycat? You should see Copycat. Harry Connick Jr.'s great in that too. Here's Best Original Screenplay!


- NOM'D:
- Olivier Assayas for Summer Hours
Whether or not you think Assayas coming back from B-movie Land is good, I'd think you'll be able to find something interesting in his reflection on what objects mean to us. The way he ends it (this is not the type of movie that can really be spoiled) with a new generation is wonderful.

- Bahareh Azimi and Ramin Bahrani for Goodbye Solo
The relationship between Senegalese driver Solo and suicidal old grump Red is written with warmth, grit, and an eye towards realism. It's another great movie from Bahrani (his 2nd co-written with Azami) about, to be purposefully reductive, America.

- Mark Boal for the Hurt Locker
Boal's script gives equal energy to investigating the psychological makeup of its characters and investigating the Action/War Movie Hero as a type.

- Ethan and Joel Coen for A Serious Man
It's some of the most effectively dark comedy they've written in a while, and it's overflowing with great ideas, not the least of which a character who for the first part of the movie is only heard screaming from the bathroom.

- Quentin Tarantino for Inglourious Basterds
I don't mean to keep harping on it, but Death Proof really sucked. So that the dialogue here is filled with so much tension, comedy, hell, even relevance to the plot and characters, is both a relief and an immense pleasure.

- WIN'D
I'll give this to The Coen Brothers for taking their style to an even darker place and doing so with a considerable amount of very hard earned laughs. The irony and cynicism not only let the emotion shine through; they enhance it.

(adapted) WORD UP

It was much easier narrowing Adapted Screenplay down to 5 this year than it was narrowing down its Original counterpart category. Nevertheless, these 5 are awesome. Speaking of awesome, here's Gene Hackman to tell you about them.


-I NOMIT8 U
- Jesse Armstrong, Simon Blackwell, Armando Ianucci, and Tony Roche for In the Loop, spun-off from the TV show The Thick of It
Some characters in In the Loop are written so that you're almost scared for them to come on the screen, because they're gonna say something so darkly and angrily hilarious you might not be able to take it. That's a fucking comedy script.

- Neil Blomkamp and Terri Tatchell for District 9, expanded from Neil Blomkamp's short film Alive in Joburg
It's an excitingly plotted, politically interesting movie. The trope of a character who works for a giant organization or government and slowly discovers its evils is not an uncommon one, especially in movies about the future or alternate timelines, but Wikus totally works as a naive little prick who is in way over his head.

- Tony Burgess for Pontypool, adapted from his own novel Pontypool Changes Everything
Semiotic Zombie Flick is a great hook (if your target audience is me), and Pontypool delivers, even (maybe especially) when the characters have to talk their way through figuring out how they're gonna get out of their besieged radio station.

- Scott Z. Burns for The Informant!, adapted from the Kurt Eichenwald book of the same name
It's not saying too much that The Informant! had the most entertaining inner monologues of the year, but their progression from slightly unhinged and obsessive to completely out there is an achievement in both character development and comedy.

- Henry Selick for Coraline, adapted from the Neil Gaiman novel of the same name
I'm a sucker for kids stories that are both very dark and very gorgeous, what can I say? The differences between the "real world" and "other world" characters are wonderfully written.

- W1NN3RS:
All those In the Loop guys. It was the funniest movie of the year and it's not even close. To reduce it to a lot of cursing doesn't give it nearly enough credit, (though the cursing is really great). There's a wealth of great characters here, and about a billion great lines.

Drench yourself in words unspoken

99. Natasha Bedingfield - "Unwritten" (Sony BMG, 2005)

One of several songs on this countdown that I hated upon first hearing it and grew to love like a dear friend, "Unwritten" is very good as a pop song and sublime as the theme song to one of YMD's favorite television shows, the Hills. It works for the Hills because it is about living your life for yourself and other such things that young folks are supposed to do, but it really works for the Hills because the Hills is one of the most conspicuously (and well) written and composed reality shows ever on television and this song is called "Unwritten"! This is not to say this song is "about" the irony of scripted reality, obviously, it's a super-earnest, wonderful pop song, but there's so much wonderful irony (the fun kind) in the line bout how the "ending [is] unplanned" that jives with why I love this show.

Also, this is wonderful inspirational (in intent, and sometimes in effect) pop, complete with wonderful Inspirational Gospel Singing, which is probably the best part of the song.