It takes a certain amount of science, a whole lot of violence, a kick ass female protagonist, guns (of course) and show stopping action to produce a crime thriller that both draws the viewer into the plot and steers through an epic course of unexpected danger. Millions have read Steig Larsson’s Millenium trilogy, and now the first book in the series “The Girl with the Dragon Tattoo” has been made into feature length movie, underscoring just how popular and influential the books are worldwide. With the other two books already filmed and on their way to theatres in the near future, the popularity of this series indicates the easy translation from words to action, and how much support there is for the trilogy.

The Girl with a Dragon Tattoo, released in 2009, is directed by Niels Arden Oplev and is entirely in Swedish. While there are talks of a Hollywood english remake (no surprises there), the Swedish movie has proven to be a hit success, drawing thousands to its release around the world. Several highlights do distinguish the movie from previous crime thrillers, however the overlong sequences, clichés and glossed over details make the entire movie quite tiresome to watch.

In a relatively derivative start to the film, investigative journalist Michael Blomkvist (Michael Nyqvist) is hired to uncover the whereabouts of Henrik Vanger’s (Sven-Bertil Taube) great niece, Harriet (Ewa Fröling).  Through a turn of events, professional hacker, Lisbeth Salander (Noomi Rapace) manages to uncover more evidence through her skills, and forming a rather odd team they both race to discover just what happened to Harriet and who was responsible for her disappearance.

While the pairing of Lisbeth and Michael forms a dynamic but formulaic feature of the classic detective/investigative drama, it is the little details in The Girl with a Dragon Tattoo that really holds this film back. One of the most obvious and outstanding ones is the fact that Lisbeth, and seemingly all the other people in the film use Apple MACs. There’s really nothing wrong with macs at all, but in this film the product placement is so clear and so absurd that it is at times extremely hard to get fully immersed into the story when you can see Lisbeth “hacking” Blomkvist’s own macbook using generic and completely implausible code. In fact, the film makes hacking look so EASY, it seems all you need to know to be a professional hacker is to type in “access Blomkivsts’ laptop” into a generic linux-esque program, and voila! – she is now freely able to surf the contents of said laptop. Well done, Lisbeth.

Not only this, the use of iPhoto to alter the contrast and brightness of the photos key in uncovering the mystery of Harriet’s disappearance really brings this film down into a whole new level of amateurishness. This was certainly not the professional and crafty duo portrayed in Larsson’s novel! Perhaps it is just the aversion to Apple products in general that makes the film so hard to understand how exactly they came about the conclusion of the events. In this way, it is probably just as well the novels work and describe what happens so much better than in the movie!

The ease at which they seem to come together in deciphering the case is a huge let down in terms of audience participation as well. In a rather convoluted mish mash string of events, the pacing of their discoveries alongside the total ease at which they find significant points relating to the case really draws the movie out unnecessarily. Tiring ever so fast, it is any wonder people can even be bothered attempting to figure out what actually happened! Michael Nyqvist is thoroughly disinteresting as Blomkvist, and gives a rather dire and uninspired portrayal contrastive against the wonderfully acted Lisbeth.

Despite the poor pacing and attention to detail, one of the revelations of the movie is without a doubt the lead actress, Noomi Rapace. If attaining all the facial piercings for the role isn’t enough to show how committed she is to the series, her acting as a strong hardcore, angsty woman translates to the screen with a tenacity that seems to attract all attention on her disregarding the woeful script. While the character does call for generic emo/hardcore subgenre-esque clothes, hair and customary black makeup and pants, Rapace seems to have a knack for portraying the strength and determination of Lisbeth, which really works well against the grain of the other typical archetypes in the movie.

In a rape scene that is disturbing as well as added shock value, Rapace pulls off the scene extremely well, particularly exemplifying the emotion and helplessness in her situation. It is in fact, Rapace in particular that saves this movie from total disaster – too bad the script wasn’t any better in portraying the strength of Larsson’s work!

For cinematic lovers of crime drama and thrillers, Girl with a Dragon Tattoo is a must watch – if only because it is based on one of the best crime trilogies in literary fiction, and it does contain a strong female protagonist which is often hard to come by. Despite these features however, the screenplay and lack of chemistry between Blomkvist and Lisbeth really brings the film down, and it is definitely the little details that prevent audiences from fully suspending their disbelief for two hours. For a film in its genre, it is no doubt one that compared to other crime thrillers such as Tell No One, a critically accalaimed French film by Guillaume Canet. Girl with a Dragon Tattoo isn’t a total disaster – just one which could do with several major improvements. With the next two films in the series wrapping up post production, it is any wonder if the interest will be there to continue watching, or to just go back to reading the books!

If someone tried picking you up in a grimy subway stairwell today, I’m sure the majority of people would think ‘oh my god, creep!’ This however, is exactly what is depicted in the beginning of the movie Milk between Harvey Milk and Scott Smith – a rather bold move by writer Dustin Lance Black, who concocted the chance meeting through pure fiction. While Milk is quintessentially a biopic/drama based loosely on Harvey Milk and his political career, it simultaneously highlights the foundations of his political and personal endeavours through his relationships and peers. It is for this reason that Milk is so fascinating to watch, particularly for those who aren’t usually into watching political dramas!

For a movie that is focussed on a whole lot of political affairs, it is the genius quick cutting of one scene to another, combined with the archival and documentary style footage that keeps interest until the end; underscoring just how radical and new age Milk’s vision and influence was back in the 70’s.  The screenplay is so well crafted, and the editing so seamless, it not only brings to light how the perception of homosexuality has changed over the past few decades, but also emphasizes the utilization of the many different types of old and new media in the script thanks to the impressively stylised directing style employed by Gus Van Sent.

In an era in which homosexuals were treated as sub-human, watching Milk is inherently thought provoking in observing how gay rights have evolved to present day. Instigating a massive gay rights movement in the heart of San Francisco, Harvey Milk clearly brought the issue and the gays into the public eye with the hopes of everyone being seen as equal human beings with equal rights. Similarly, the film Milk was released in concurrence to California’s 2008 referendum on gay marriage, otherwise known as Prop 8. The message of hope, unity and equality is heard audibly through this film’s tightly written screenplay and cast of A-grade actors, undoubtedly inspiring many voters to think over the tremendous decision of allowing gays to officially get married. Milk’s relevancy to today’s politics is powerful in showing the determination of Harvey and his team – in a script grounded by documentary like archival footage, it is inspirational in delivering the message of fighting for what you believe in. Although it is sometimes dragged down by a milieu of over the top dramatization and excessive use of footage, the actors make the most of the wonderfully inspired script, which in turn highlights the importance of Milk’s actions at the time.

Although in typical biopic style fashion a narrator is used in the form of Milk recording his own will before his assassination, the combinations of brilliant directing, scriptwriting and editing makes for a powerful political film. Milk’s various relationships portrayed in the film also make up the bulk of the film’s grounding, particularly between lover, Scott Smith. Through the tumultuous political affairs of his activism, then his political career within the Californian government, the focus on his life as a homosexual man is reiterated on all angles – from his sexual encounters to the berating and death threats he receives from anonymous hate mongers.

Sean Penn is utterly convincing as Harvey Milk, and it is undoubtedly the strength of his performance that allows audiences to take the issue and the events portrayed in both a light hearted but thoughtful way. His speeches to the crowds are often powerful and passionate, his debate with his opposition persuasive. Indeed, Penn’s portrayal of Milk just may be one of his career bests, his portrayal of a gay man compelling and not at all awkward. The chemistry between Penn and James Franco, who plays his lover/ex Scott Smith is also emphatic in celebrating the joy and partnership between the two individuals. Their relationship is key in focussing on the affects of politics on Milk, as well as the consequences and downfalls he went through to achieve his dream of equality. It is certainly admirable in seeing just how much passion he had for his vision, especially since almost every relationship he had ended in disaster because of it.

The use of archival and dated footage is also another aspect of Milk that brings the drama and events back to reality. The cross cutting between the drama played out between Milk and his allies and enemies, alongside the TV reports and extra footage of the real life events is telling in portraying the massive cultural change occurring in the 70’s, as well as the brutality of living as a gay person in that time. Although there is not a lot of female representation in the movie asides from Milk’s assistant Anne Kronenberg (Alison Pill), the ramifications of his actions serves to exemplify how important the gay rights movement is now than ever before.

Almost 40 years down the track and gay rights still seem to be at the losing end of the spectrum, despite the efforts of gay icon Harvey Milk. If the ending of the film is anything to go by, it is without a doubt an issue entrenched in everyday lives, and everyday times. The sacrifices Milk made for the purpose of the movement is simply thought provoking when one looks at how much he has done politically. While the movement still seems to have a while to go yet, Gus Van Sent has done a spectacular job at  recreating Milk’s life and vision on screen – delivering a powerful message of hope and peace in the process.

For fans of comedy, Burn After Reading seems to be a movie that people either really love, or really hate. While this movie certainly does not contain the slapstick or laugh out loud humour you might find in other comedy-billed movies such as The Hangover or Death at a Funeral, the subtle ironic dialogue, wonderfully dark humour and the hilarious jabs at American suburban culture makes Burn After Reading a film which definitely appeals to a more adult audience. Fans of the Coen Brothers will appreciate the clever script and trademark dry humour and witty one-liners though, as much like the brothers’ other comedies including Intolerable Cruelty or O Brother, Where Art Thou?, the humour is very subtle, but also very satirical and uproariously funny. The casting is exceptional in this film, and as far as performances go, Brad Pitt and John Malkovich really make some of the best scenes in the movie. It is not just the ensemble cast that makes this film so enjoyable to watch however, but also the insanely clever script. In fact, each scene is filled with so much sarcastic wit and irony that you may often miss the subtle humour portrayed by the character. The sheer stupidity of each character just keeps amalgamating until the final climax of the movie, and it is without a doubt the end scene that sums up the entire absurdity and hilarity of the film’s in general.

Burn After Reading starts off with an extremely amusing opening scene featuring CIA agent Osbourne Cox (John Malkovich) getting a lecture on his drinking problem and a lower clearance at his office. Disgruntled, he quits and begins writing a memoir on his life as a CIA agent, much to his wife Katie’s (Tilda Swinton) disbelief (and cynicism)! While Osbourne is portrayed as an unsuccessful deadweight, Katie is the unemotional conniving bitch who seems to always get what she wants. In the wake of Ozzy quitting his job, she organizes for a top hard-ass lawyer to handle her pending divorce papers so she can be with her boyfriend Harry (George Clooney), who portrays a womanising dweeb. Although he is having an affair with Katie, he is clearly just in a rut with his wife and kind of wants to make things work – in typical male fashion of course. Unbeknownst to Harry however, his wife Sandy is also cheating on him during her book tours out of town. It is through this web of affairs and relationship problems that the plot really unfolds, when Katie burns all of their financial information onto a CD including Ozzy’s memoir so she can gain as much as she can from her planned divorce. Three bumbling gym trainers, Linda (Frances McDormand), Chad (Brad Pitt) and Ted (Richard Jenkins) happen to find these files however, when a copy of the CD is found in Katie’s lawyers’ secretary’s gym bag in the locker rooms. What ensues is a series of ridiculous and hysterical interweaving of events, which not only leads Linda and Chad in talks with the Russian embassy armed with the CD, but a shockingly extreme climactic ending which sees an intense and ludicrous end to all characters involved in the “clusterfuck”, as J.K. Simmons puts so eloquently.

The actors really make the most of an intensely funny and sarcastic script, which mocks just about everyone from airhead gym trainers to top CIA officers. The efficient cross cutting between the different character developments and their entangled affairs with each other’s problems and issues is part of the main reason why this film is so intruiging, and the eventual climax which sees just about all the characters coming together and relating to each other some way in accordance to Ozzy’s failed memoir makes Burn After Reading truly entertaining to watch.

Brad Pitt surely must be one of the most underrated comedic actors today, as he pulls off a superb comedic performance in this movie as Chad. The stereotypical “all buff, no brain” demeanour is one of the most entertaining traits of his character, and it is undoubtedly his phonecall to Ozzy in the middle of the night, as well as his brief exchange with him in Ozzy’s car that are the most memorable scenes of the movie. His break in into Ozzy’s house and climactic showdown with Harry also marks the most extreme turning point of the movie, and it is truly so shocking and so dark that initially, you don’t even know if you should laugh or not!

John Malkovich is also remarkable as Ozzy, and it is often quite funny/sad to see his dreams being shot down by everyone including his wife. Kevin Sussman makes a short but brief appearance as Harry’s stalker (AKA the man employed by Tuchman Marsh), and does such a fantastic job as the innocent stalker employed by Sandy’s hired divorce company that his scene is also very memorable.

The dialogue in this film is overall so sardonic towards America and its culture in general, that every wry, sarcastic line may be referred to the intense scrutiny of America’s questionable subculture and its inhabitants. The irony contained in the dialogue is part of why Burn After Reading is SO incredibly funny – the fact that each character “seem to all be sleeping with each other” just highlights how absolutely ridiculous the entire movie is. Harry’s discovery of his wife’s affair, as well as Harry’s worry of Ozzy being “trapped” in his marriage/divorce is just one example of the fine humour the Coen Brothers utilize to help mock American suburbia, and the American dream. Linda’s obsession with plastic surgery and the desire to look perfect is also incredibly amusing – she rationalizes that she works in a gym which is all about appearance, so she obviously really needs that tummy tuck and operation to get rid of the vaccine mark on her arm!

Every scene and every character is so well written, Burn After Reading is unquestionably worthy of getting on DVD just because it is so watchable and amusing. It definitely improves with each viewing, and it is interesting to dismantle just how this movie is contructed and how each character relates to each other.

You really got to hand it to the Coen brothers – a combination of A-list actors, smart dialogue and trademark humour makes this another classic to add to their credits. A movie as dark and funny as Burn After Reading is hard to come by, so much so this film really does make you appreciate how a comedy such as this can evoke such thought and opinion. While the plot may confuse some, and puzzle others, lovers of dark comedy will undoubtedly appreciate how this film uses the extremities of violence, job losses, death and marriage breakdowns to emphasize how we are all most probably trapped in the same cycle of deceit, espionage and incredulity in our own lives!

Coming from a director who has brought us such cinematic classics including Hollow Man, RoboCop and Basic Instinct (take from this statement what you will…), viewing Black Book is like viewing a whole other dimension through Paul Verhoeven’s eyes. Not only is this film entirely in Dutch, the 2 hour long marathon of a film seems to fit so much action into its timeline, it hardly even feels long at all! It does however contain some elements of his trademark, and although there are several unrealistic and eyebrow-raising scenes, the content and entertainment value really sets this apart from other World War II films.

Released in 2006, it was at the time, the most expensive Dutch production and also one of the most praised movies in the public and critics alike. For those who hate viewing movies with subs, beware, for this movie was not dubbed in English! It is not hard to see why this film has been one of the more successful World War II movies though – amongst the thousands of others that have been made, I think it’s safe to say this film really has the right amount of action, romance and plot twists to keep it chugging along nicely through to the end.

With a plot similar to that of Lust, Caution, Black Book begins with a flashback to main character Rachel, who is teaching at a school somewhere in Israel. On a chance occasion, she meets a former acquaintance, Ronnie, who she knew when she was a spy during World War II. The two strike a conversation, and after a brief exchange, Rachel reminisces about how she became an orphan in a German ambush, and how she became a spy for the underground resistance against the Nazis.

Through many often unrealistic and exaggerated turns of events, Rachel discovers others who are in the same position as her and quickly becomes a secret spy for the resistance. Armed with a bottle of peroxide, Rachel becomes Ellis de Vries – a smart and beautiful faux German who eventually infiltrates the local SS office as a secretary. Her mission? To seduce the commander Ludwig Muntze, and to obtain inside information so the resistance can break several members of their clan free from the evil clutches of the SS prison. Rachel has an ulterior motive however – she is determined to find out who tipped off the ambush that killed all of her family, and she wants them DEAD.

Rachel of course, falls in love with Muntze during her secret spy duties, and although he does indicate he knows she is in fact Jewish through her obviously bad dye job, he keeps it on the downlow because it seems he too, has fallen in love with her. Rachel also meets Ronnie through Muntze, who she learns is also an American spy, acting as a complete sex crazed airhead who teases just about every lad in the SS to obtain information!

When Rachel finds out the mole that killed her family and tips off the Germans, members of the resistance kidnap him and in a scuffle accidentally kill him. This sets off a chain of extraordinary events that eventually leads to a death penalty for Muntze, and Ellis in a prison where she is humiliated and tortured. It is not just the tragic separation of the two lovers that is the main crux of the story, but the plot twist at the end that will leave viewers confused and perhaps even slightly shocked.

Black Book may have a considerably convoluted storyline and lots of gratuitous violence and nudity, but it is indeed a film that both entertains and makes several points about World War II in general. Carice Van Houten is simply stunning as Rachel, and Thom Hoffman acts superbly as a sneaky, villainous leader of the resistance.

One of the most notable aspects of this film is just how incredibly unrealistic it actually is though – you do have to just let the film do the talking and suspend your disbelief for ~2 hours! While the ambush at the start was quite extreme and fairly plausible, the plot twists including the killing of the Jew spy in broad daylight and Rachel and Muntze’s break out of prison just adds to the overall over exaggeration of this movie. It does not by any means take itself too seriously, which is perhaps why this film is so enjoyable as a whole.

While its not the most insightful World War II thriller, nor is it the most thought provoking, Black Book does raise some questions as to what is considered right or wrong during times of war. With Rachel’s constant conflictions within herself over her loyalties to her family, the resistance and her love for Muntze, Verhoeven does an impressive job of handling Rachel’s choices and portraying them in a way which emphasizes how hard it is to judge each aspect of the war.

Noted for its big budget, Black Book’s cinematography is also visually stunning: each scene is filled with different elements which really draws you into what is happening, and what each character is saying. In particular, the shot style and lighting of the extravagant gala held by the SS near the end of the film really highlights the tone and foreshadowing of the rest of the movie, as it is the penultimate point where Rachel and Muntze meet up one last time before they separate…forever. The use of long shots is particularly useful in highlighting the beauty of the Dutch countryside, and the ravages of war against the greenery, which I thought was a nice touch in the film especially at the end scene.

The music in this film is also another feature that enables the viewer to fully appreciate the turn of events and constant action. This movie may be a far cry from the likes of Total Recall or Basic Instinct but the rapid car chase that leads to the resistance members being arrested, and the shootout ambush at the start really lends itself to the awesome directing skills of Paul Verhoeven.

Overall, Black Book is one long but entertaining war movie that will not disappoint. It is a complete change from Verhoeven whose other credits may raise a few questions as to how he can be so hit/miss with his ventures, but Black Book really is worth checking out, if not for the charming love story between Rachel and Muntze. People may slam Verhoeven especially for the excess and often unnecessary nudity in the film, but he has two excuses.

One: it’s a foreign language film.

Two:  This film is all about over exaggeration.

Why not go all out and produce something that is not just about the war, but also about a character, and her journey through the war as a spy? Black Book is nowhere near as entertaining as Inglourious Basterds, nor is it as focused on the brutalities of war like Band of Brothers, but it surely is one epic movie that has just the right amount of everything which will keep most viewers in their chair and wondering whatever will happen next!

Rarely does a movie stick with you and stay lodged in your mind for days after you view it, let alone the very same day. Sure there’s the shockingly huge billion-dollar hype machine for James Cameron’s Avatar which is impossible to ignore, but then again people really only seem to be talking about it because of the acclaimed innovative graphics and groundbreaking visual effects. Although recent arguments on the matter seem to question just what attracts people to the cinemas, when it comes down to it, storyline is still very much a part of a movie experience as it is to simply sitting down for two and a half hours and enjoying the art of CGI. An Education is one of those gems of a movie that really doesn’t need flashy visuals to tell the story – instead, it contains both insightful dialogue and intense character development that will undoubtedly leave viewers questioning their very own lives in the process of watching the story unfold.

While the ‘coming-of-age’ genre doesn’t exactly scream exciting, the combination of brilliant acting, well adapted script and did I say brilliant acting, really makes An Education a must watch for every movie goer out there. Unlike the other recent coming of age movie Where the Wild Things Are by Spike Jonze, An Education leaves the childish playfulness behind and instead delves straight into the deeper issues concerning both female sexuality and the collective idea of gender in modern civilization – both major topics of discussion in any serious debate about the state of gender in society today. Don’t let all these serious societal issues dissuade you from seeing the movie though – it is actually very enjoyable and easy to watch!

An Education is actually a movie based on British journalist Lynn Barber’s memoir, which was published in June 2009. Yes, it is yet ANOTHER movie based on someone’s life. before you go round saying how hollywood has run out of ideas however, it is worthy to note some stories ARE worth a theatrical adaptation – just because it is THAT interesting. Either that or Nick Hornby has done a spectacular job of adapting the book to  a screenplay! I remember watching Sherfig’s other better known film “Italian for Beginners” a few years ago, and while there was a distinctive hand held, DIY style, it is quite similar to An Education in that it seems to be Sherfig’s trademark in letting the characters drive the story.

The cast are all pretty much perfect in their roles, but it is without a doubt newcomer Carey Mulligan who makes the film as relatable as it is in giving an Oscar winning performance as Jenny Mellor. Her charm and cutesy quirkiness really sets her apart from the rest as an entirely appealing and sympathetic character – after all, her story is one which can be linked to almost every aspect of growing up as a teenager in modern society today: from the awkwardness and immaturity of high school relationships to the ever persisting issue of children ‘growing up too fast’.

As thoroughly watchable and oftentimes amusing the film is, the gradual growth and change of the main character Jenny is what is really affecting about An Education. Set in the early 1960’s in England, Jenny is a sixteen year old schoolgirl who seemingly has it all. As an only child, she is spoiled by her father and mother who both push for her to be the best at her upper class catholic girls school, all the while playing the cello at the local orchestra and studying constantly to maintain her A grade marks. Her parents’ obsession with her Latin alongside her stifled passion for French culture is really what separates her academic and blooming social life however, as the charming David Goldman (Peter Sarsgaard) enters her life and sweeps her off her feet. Being a wealthy thirty something year old male who seemingly has a thing for much younger girls(he first meets her after she finishes school, driving next to her in his car…creep much!?), he shows her a life of glitz and glamour outside high school she never could have dreamed of. It is at this point where Jenny begins to rebel against every ideal she was taught and where she begins to realize through her naïveté just how gender and sex operates in the real world.

While it is not always easy to understand Jenny’s decisions and motivations in the movie, her character’s growth and reasons for doing what she does defines just why this movie was made in the first place. The movie’s references to controversial social topics including teen adolescence, sexuality and morality makes for some incredibly powerful commentary on contemporary life, all the while making Jenny relatable to almost every single girl and woman in some way or another whether it be her rebellion against her parents, her blossoming sexuality or her foolish teenage ignorance. It is Jenny’s maturation and change that ultimately forces viewers to question their own values and beliefs about gender and social structures, with the crux of the movie a familiar inquiry into the real importance of both academic tuition and real-world social lessons.

Along with David’s eventual take over of Jenny’s life, her progression in this period of her teenage life is marked by several key events: starting with her first date with David to see live classical music, to her birthday trip to Paris and the loss of her virginity, to her dropping out of high school and getting engaged. While there is every reason to think what a naïve fool Jenny is throughout the majority of the film, her impressionable behaviour and naïve belief in the idea of love and the role of sex and academic education is what is underscored by the story arc and also quite literally through her parents’ significant change in attitude throughout Jenny’s relationship with David. Jenny’s parents who are initially wary of David eventually welcome him with open arms when they discover he is wealthy and can provide, eventually almost encouraging Jenny to drop out of school to marry him as she now clearly didn’t have to get an education to fund her own way through life. It is this extremely dense attitude which makes you wonder how they live with themselves as PARENTS, and it is also something that reverberates as loudly as Jenny’s speech about the actual point of learning latin to her headmistress. Consequentially, it is an issue that constantly attracts strong arguments and opinions from opposite ends of the spectrum, and is brought up several times during the movie.

The questionable antics of Jenny’s parents as well as the creepy, borderline paedophilic behaviour of David really sets Jenny up for a major downfall and it is at this point where the viewer learns just how desperate Jenny is to be seen as an equal to her parents, teachers and friends. This struggle for attention not only shows just how far a bit of charm and money can go when it comes to picking up impressionable young schoolgirls, but really, exposes the hidden secret that everyone knows but no one wants to admit….that while money may not be able to buy complete happiness….it can help. A lot.

The mesmerising storyline and acting abilities of all the cast involved is what draws you into the movie, and is what makes An Education a step up from the usual fare. Brutally honest and completely engrossing at the same time, Sherfig excels in delivering an interesting and absorbing coming of age movie that really questions how gender operates in modern society. While attempts to escape the world for a bit can be made by watching mind numbing explosions in high definition CGI, An Education brings us crashing back down to the realities of modern life: underscoring the importance of learning through mistakes and living from experience rather than a worn out latin text book.

P.S. Carey Mulligan is 50% of what makes this movie so amazing to watch, so I’m definitely putting my money on her at the Oscars!