Flattery gets you everywhere

The Academy is nothing if not self-adoring... just look at the Oscar nominations

A sad week for cinema. Two influential figures are dead: Theo Angelopoulos, the 76-year-old director of The Travelling Players, Ulysses' Gaze and the Palme d'Or-winning Eternity and a Day, died yesterday after being hit by a motorcycle near Athens. (You can find a thorough and illuminating interview with him, conducted at the National Film Theatre in 2003, here. And Bingham Ray, a major player in the US production and distribution scene, died aged 57 after suffering a stroke at the Sundance Film Festival in Utah on Monday. Ray founded October Films, whose first release was Mike Leigh's Life is Sweet, and later headed United Artists, a speciality division of MGM. An obituary in the LA Times notes that he "often clashed [with MGM executives] over the types of films that Ray chose to champion, with the studio regarding his taste as too esoteric and arty."

Which brings me to this week's other, less significant but nonetheless disheartening news. "Academy Awards Nominations Play It Safe" is a headline of the "Dog Bites Man" variety; no one expects the "esoteric and arty" to be anywhere near the door-list. With each year, I feel more inured to the minor snubs and injustices, and more resigned to the parade of phoney prestige that constitutes the whole awards calendar, not just the Oscars. I'm not immune to its silly allure -- I vote in the London Film Critics' Circle Awards, and was happy to see The Artist and A Separation amply rewarded last week. While I haven't yet seen Kenneth Lonergan's acclaimed Margaret, its inclusion on our nominations list, and the tie-break win in the Best Actress category between that film's Anna Paquin and awards-magnet Meryl Streep for The Iron Lady, did make a case for the importance of such rituals in bringing largely unsung work to wider attention.

We all know by now that this isn't the remit of the Academy Awards. The expansion of the Best Picture category in recent years to ten nominations was intended to accommodate popular favourites that might otherwise not have nabbed a place; at no point was it meant to shine a light on the overlooked or under-praised. But it's ridiculous to cast the net so wide when the quality of the films nominated does nothing to warrant it. Any awards body that is seen to be making up the numbers will lose what little authority it has. I'm sure this isn't going to trouble the Academy -- viewing figures count here, aided by the smoothness of the ceremony (hence the return to Billy "Safe pair of hands" Crystal after the botched experiment of Anne Hathaway and James Franco).

Reluctant as I am to share the opinions of someone who boasted of having walked out of The Artist, Bret Easton Ellis was correct when he tweeted that "The Oscars are a marketing tool but they give an indication of what Hollywood is thinking about itself. 2011 was an awful year for movies... In order for The Oscars to mean anything, if they mean anything at all, they have got to limit the number of best picture nominations to five."

I'm sure The Artist will win big; I hope it does -- it's not the best film made in the past year, but it is a smart and witty confection, and it's certainly the finest work within the boundaries of what the Academy is prepared to acknowledge. As the Huffington Post remarked, "films about films" like The Artist and Hugo (which leads the way with 11 nominations) predominate this year; the Academy is nothing if not self-adoring, and such movies are inherently flattering to the industry's sense of itself as magical.

Keeping the glass half full, it's encouraging that A Separation has been recognised in the Best Original Screenplay category, as well as the expected Best Foreign Language Film. Another plus: Bridesmaids got a Screenplay nomination, and a Best Supporting Actress nod for Melissa McCarthy -- she could very well win, as it's one of the few categories where unbridled comic turns are tolerated. (See Mercedes Ruehl in The Fisher King, Marisa Tomei in My Cousin Vinny, Mira Sorvino in Mighty Aphrodite, Dianne Wiest in Bullets Over Broadway.) And a Best Picture nomination for The Tree of Life -- flawed though that movie is -- alongside Best Director for Terrence Malick is not to be sniffed at.

Expect to see Malick sitting in the front row on Oscars night, jeering and braying loudly. Next to him is that born hellraiser, Joey the horse from War Horse, who leads the charge as the pair of them "do a Kanye" when The Artist scoops the gold. Well, if we can't have esoteric and arty, let us dream of scandal and horseplay...





Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

Kyle Seeley
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For emotional value, Emily is Away – a nostalgic instant messaging game – is this year’s best release

If you want to express your lingering teenage angst, there’s no better option.

Every now and then, a game is released that goes beyond what it may look or sound like. It goes straight to the pit of your insides where you thought you had no soul left, and jolts you back to life. Or at least it attempts to. This year, it's Emily is Away.

Firstly, anyone and everyone can virtually play this thing as it’s a crude Windows XP simulator displaying an AIM/MSN messenger client and can run on the PC equivalent of a potato. And it's free. It’s a short game, taking about 30 minutes, in which you play a person chatting away to your friend called Emily (who could be more), choosing from a set list of pre-selected instant messages.

Each chapter takes place in a different year, starting in 2002 and ending in 2006.

You’re instantly smacked with nostalgia thanks to the user screen of Windows XP and a fuzzed out background of Bliss, which was the default wallpaper in the operating system, and probably the most widely seen photo in the world. And your ears aren’t abandoned either, with the upbeat pinging sounds reminiscent of how you used to natter away with your personal favourite into the early hours.

The first chapter starts with you and Emily reaching the end of your last year in high school, talking about plans for the evening, but also the future, such as what you’ll be studying at university. From this early point, the seeds of the future are already being sewn.

For example, Emily mentions how Brad is annoying her in another window on her computer, but you’re both too occupied about agreeing to go to a party that night. The following year, you learn that Brad is now in fact her boyfriend, because he decided to share how he felt about Emily while you were too shy and keeping your feelings hidden.

What’s so excellent about the game is that it can be whatever you wish. Retro games used the lack of visual detail to their advantage, allowing the players to fill in the blanks. The yearly gaps in this game do exactly the same job, making you long to go back in time, even if you haven't yet reached the age of 20 in the game.

Or it lets you forget about it entirely and move on, not knowing exactly what had happened with you and Emily as your brain starts to create the familiar fog of a faded memory.

Despite having the choice to respond to Emily’s IMs in three different ways each time, your digital self tries to sweeten the messages with emoticons, but they’re always automatically deleted, the same way bad spelling is corrected in the game too. We all know that to truly to take the risk and try and move a friendship to another level, emoticons are the digital equivalent to cheesy real-life gestures, and essential to trying to win someone’s heart.

Before you know it, your emotions are heavily invested in the game and you’re always left wondering what Emily wanted to say when the game shows that she’s deleting as well as typing in the messenger. You end up not even caring that she likes Coldplay and Muse – passions reflected in her profile picture and use of their lyrics. She also likes Snow Patrol. How much can you tolerate Chasing Cars, really?

The user reviews on Steam are very positive, despite many complaining you end up being “friend-zoned” by Emily, and one review simply calling it “Rejection Simulator 2015”.

I tried so hard from all of the options to create the perfect Em & Em. But whatever you decide, Emily will always give you the #feels, and you’ll constantly end up thinking about what else you could have done.