Let me start out by stating that 2005 was not a strong year in film. The Academy Award nominations were not surprising, given the outcome of both the Golden Globes and SAG Awards. Walk the Line is the most glaring omission in the Best Picture category. And while I appreciated Crash for the stellar performances of an impressive ensemble cast, in my opinion it is not Best Picture caliber. A History of Violence was a superior film from controversial director David Cronenberg, and Viggo Mortensen should have been a Best Actor nominee. Along the same lines, although Terrence Howard gives a career-altering performance in Hustle & Flow, it did not strike me as Oscar-worthy.  I am rooting for Heath Ledger in Brokeback Mountain, but I realize that the Best Actor trophy is all but in the hands of Philip Seymour Hoffman for Capote. Until now, Jake Gyllenhaal was snubbed for Best Supporting Actor nods, but he rightfully scored one for the big dance. Kiera Knightly is at the polar opposite spectrum of her career to Dame Judi Dench, who seems to get nominated for everything she does. Knightly’s first nomination is a throwaway, much as Renee Zellweger’s was for Bridget Jones a few years ago. Speaking of Judi Dench…it looks like William Hurt is this year’s Dench – a Best Supporting Actor nomination for about 10 minutes of scene-stealing screentime. Will voters reward Paul Giamatti with an Oscar in this category because he’s a sentimental favorite after losing two years in a row? I don’t know the answer, but I will tell you that Cinderella Man isn’t even on my rental radar. It’s a shame that more people didn’t see Transamerica, because Felicity Huffman is amazing, unrecognizable and mezmerising in this little indie gem. But Reese Witherspoon has transplanted Julia Roberts as America’s Sweetheart, and will probably take home the Best Actress Oscar, the first of many in her career. All bets are on Rachel Weisz for Best Supporting Actress, but there would be no Junebug without Amy Adams, and Brokeback would have been an entirely different movie without the intense emotional resonance of Michelle Williams. My vote for Best Director goes to Ang Lee for his small but beautiful and haunting film.

Some people don’t want to read anything about a movie before they see it, let alone watch a trailer. I dedicate time every week to watch film trailers online; I enjoy the sense of anticipation for movies that aren’t coming out for months. Here are a few of my favorite sites to grab a sneak peek:

• www.apple.com/trailers
• www.comingsoon.net/trailers
• www.darkhorizons.com/trailers.php
• http://movies.aol.com/trailers/main.adp
• http://movies.yahoo.com/trailers

I didn’t want to like Grey’s Anatomy. I watched the first episode simply because it was on, and I was too lazy to change the channel. It seems that most of the women I work with are also hooked, and none of us would have predicted that Loverboy Patrick Dempsey would morph into Dr. McDreamy. The relationships between the interns and doctors are unpredictable, quirky and even endearing. I am a big fan of the roller-coaster/train wreck that Sandra Oh and Isaiah Washington share, and I also enjoy Chandra Wilson as the complicated Dr. Bailey.

I just returned from seeing Good Night, and Good Luck. This is George Clooney’s second stint in the director’s chair, and I am beginning to appreciate him more behind the scenes than in front of the camera. Though the subject matter differs from the first movie he directed, Confessions of a Dangerous Mind, I enjoyed it just as much. Clooney’s unflinching close-ups of David Straithairn as Edward R. Murrow and accurate use of historical footage make for a compelling and educational film. Primarily a recognizable character actor, memorable as Tom Cruise’s brother in The Firm and Kathy Bates’ husband in Dolores Claiborne, Straithairn gives a powerful yet understated performance in Good Night, and Good Luck. The strong supporting cast includes a refreshingly adult Robert Downey Jr. and the consistently terrific Patricia Clarkson, as well as Jeff Daniels and Frank Langella. I applaud Clooney’s visual eye, and his passion for exploring the truth in television history. As the son of a news reporter, Clooney has an eye and a keen interest in the small screen; both of his movies are exposés of sorts.  His decision to only play small roles in the films he directs is also commendable; a star of his clout serves as a distraction from content and message.

I watched American Beauty. Again. I will never tire of this particular film. I chose to listen to director Sam Mendes’ audio commentary throughout the film this time, and it was fascinating. With the pending release of Jarhead, I wanted to refresh my memory about Mendes’ very specific visual style. Although I did not love his last film, Road to Perdition, the cinematography was quite stunning, and almost overshadowed the performances. The trailer for Jarhead is perfectly framed by Kanye West’s Jesus Walks, addictive enough for a quick purchase on iTunes.