It's Electrifying. It's Electrifying.

Jason from MNPP here -- isn't it strange, the stories that suddenly catch fire with the movie-makers and ignite dueling projects that race towards the finish line to beat the other to the eyes of the public? You've got your Volcano and Dante's Peak, you've got Deep Impact and Armageddon, and for those of you who don't see Disaster Movies as the be-all end-all of the cinematic form you've got Capote and Infamous... in which that southern writer was tossed at New York Society like a killer meteorite from outer space.

Today comes new news of another bizarre example - the the 1880s a battle over who would best monetize the invention of electricity was waged between George Westinghouse and Thomas Edison, and all of sudden, some one-hundred-and-thirty odd years later, it's all Hollywood wants to talk about.

I've been following the momentum of the movie called The Current War semi-regularly over at MNPP because a cast of handsome dudes have been attaching and un-attaching themselves from it for a few months -- as of right now the film will star Nicholas Hoult, Benedict Cumberbatch, Michael Shannon, and just today Spider-man himself Tom Holland has joined the cast. Oh and Katherine Waterston too, because I guess there needs to be a token wife character who frets at the sidelines of all the men's manly business. The Current War will be directed by Alfonso Gomez-Rejon, who made Me and Earl and the Dying Girl, and it's set to start filming next month.

Meanwhile everybody's favorite Oscar nominee Morten Tyldum is making a film called The Last Days of Night, based on a book by the same title, which tells the story from the point of view of Westinghouse's lawyer, who will be played by Eddie Redmayne. That movie is supposed to start filming in February. Do you think Benedict Cumberbatch and Morten both had their light-bulb moments (as it were) on the set of The Imitation Game, and this is some kind of secret spiteful race between the two of them? That's how I'm making entertainment out of the story for myself anyway.

Watch Out, Titanic.... Here Comes Passengers

Or so says its director. Speaking to Entertainment Weekly, Morten Tyldum (The Imitation Game) tried to build up hype for his December release starring Jennifer Lawrence and Chris Pratt:

Every generation has its love story. I feel like this is it. 

There are certainly similarities with Titanic. Passengers is about two, well passengers, aboard a spaceship who accidentally wake up from an iduced time suspension, 90 years into a 120 year trip. Everyone else on board is still asleep when they discover that the ship is in danger. They try to save themselves and everyone else while falling in love. Sound familiar?

Lawrence and Pratt are arguably the two biggest movie stars in their age groups, so a commercial hit is expected. But will they capture the zeitgeist like Kate and Leo? Tyldum certainly hopes so. We will find out on December 21.

Does Passengers give you blockbuster vibes? What is your definitive love story? 

Best (Male) Directors - The Chart!

I wish I had time to sketch Wes Anderson riding to the Oscars on a bicycle made of antique tuba parts (thanks Tina & Amy) but alas. It's nomination day. No time for goofing around.

Manly men and the men who love them and direct them and vote for them to win miniature idols of gold men.

The Best Director chart is now up with details on the nominees and gives you the opportunity to vote for your favorite (the poll will be up until two days before the Oscars). If you fuse all the Best Directors together this year into one über Frankenstein director you get a 6 foot tall white brown-haired American man with some Norwegian/Mexican blood in him who's rapidly approaching his half century mark and who has made about 7 movies in his career all told. (There's no way to fuse these five men's temperaments and styles though... despite being very similar in age, height, and Oscar favor they have very different aesthetics and concerns as filmmakers)

On the new Nominated Directors chart, you'll aso learn how each man got his nomination*. Besides having penises that is. That goes without saying in this category so we left their penises off the chart.

• How much did Birdman's showbiz navel-gazing help Inarritu?
• Which was more important for Linklater: conception or execution?
• How crucial was that spring release to Budapest's overall success?
• And did Morten Tyldum benefit from Oscar's World War II fetish?

Find out on the chart! (More charts to follow)

* for entertainment purposes only you understand. We can't know what lurks in the hearts and minds of voters but we love pretending to!

DGA Nominations: Eastwood is Fashionably Late Yet Again

The Directors Guild of America have spoken and raised the Eastwood flag yet again. The 84 year old director cruised to a nomination for his conservative military drama American Sniper. It's his fourth nomination with the DGA. He has won twice before at the DGA and also received a Lifetime Achievement Award. The Academy has nominated him even more often for directing as American Sniper will be his fifth Best Director nomination should it come to pass. Eastwood has a habit of crashing the party late. He did it in 2004 with Million Dollar Baby when everyone was preparing for an Aviator sweep. He did it in 2006 with the tiny grossing nearly black and white foreign language film Letters from Iwo Jima and he looks like he'll do it again on Thursday for American Sniper.

DGA NOMINEES:

Wes Anderson, Grand Budapest Hotel
Clint Eastwood American Sniper
Alejandro Gonzalez Inarritu, Birdman
Richard Linklater, Boyhood
Morten Tyldum, The Imitation Game

I promised you back when the Globe nominations were first announced that the Academy would never come up with a list that good for Best Director. While we won't know the truth of my prediction until Thursday morning, the DGA choices don't bode well for a happy Thursday morning for many of us. Congratulations to the nominees but, all due respect, Eastwood & Tyldum replacing Duvernay and Fincher is trading down if we're judging by the directing jobs in question and not by legendary reputations and best picture heat respectively.

But here's something to give you hope if you're already grousing about these nominations: In Ye Olden Times (i.e. 1970 through 2008) the DGA was considered the single most predictive precursor. This was not because the DGA lineup was always Oscar's lineup for Best Director. In fact, it rarely matches 5/5 but it was called that because it was the single most predictive of the Best Picture race (not Best Director). That is no longer the case -- or if it is it's lost all meaning since there can be up to 10 nominees for Best Picture now so it's easy to call five of them. But in Ye Olden Times, i.e. up until seven years ago, today's announcement would mean that American Sniper was probably going to edge out another movie we thought was more strongly in the mix like The Theory of Everything or Selma.

Here are some recent history switcheroos from DGA to Oscar

2013 DGA (4/5) Paul Greengrass, Captain Phillips. Oscar replaced with Alexander Payne for Nebraska.
2012 DGA (2/5) Hooper, Affleck, Bigelow. Oscar replaced with Haneke, Zeitiln, and Russell
2011 DGA (4/5) Fincher, Dragon Tattoo. Oscar replaced with Malick for Tree of Life
2010 DGA (4/5) Nolan, Inception. Oscar replaced with the Coen Bros for True Grit
2009 DGA (5/5) 
2008 DGA (4/5) Nolan, Dark Knight. Oscar replaced with Stephen Daldry for The Reader
2007 DGA (4/5) Sean Penn, Into the Wild. Oscar replaced with Jason Reitman for Juno 
2006 DGA (3/5) Dayton/Faris and Condon. Oscar replaced with Greengrass and Eastwood 
2005 DGA (5/5)

There's not much of a pattern though both of the recent years with perfect matches were very much consensus years where it was the same five titles all the time. 2014 is not that kind of year. When Oscar makes a change they trade both up and down... the only throughline, and it has exceptions, is that Oscar's directing branch tends to be a little more artistically inclined than DGA's more populist tastes. So the people who didn't make it today are still in it: James Marsh has a BAFTA nod to recommend him, Ava Duvernay has a critically acclaimed resonant film, Damien Chazelle is a new boy wonder (and they love those since its the old boys club) and David Fincher is, well, David Fincher with a huge hit. One of them could surely still knock one of the DGA contenders out. But who and which?

Final predictions soon. Need some time to think on it. Thoughts?