“Hereafter” applies “Crash” and “Babel” school of storytelling, interweaving the stories of three distinctly different people in different parts of the globe in an intricate fashion. The film kicks off with a bang as Marie (played with a touching sense of fear and wonderment by French actress Cecile de France) is knocked out by the notorious Indonesian tsunami of 2004 before springing back to life and finding herself haunted by the visions she had while unconscious.

Marie’s a newscaster and is expected to keep a level-headed scientific mindset, but she is soon obsessed with her quest to figure out what happened and risks losing her reputation, career and relationship. Meanwhile, in San Francisco, a lonely man named George (a surprisingly vulnerable Damon) struggles to ignore the psychic abilities that have haunted him since he nearly died in a childhood accident.

And in London, a 12 year old boy named Marcus ( Frankie McLaren, in a heartbreaking debut) is already living a tough life, with his mother a hopeless junkie and no dad in sight. When his beloved twin brother is killed in a tragic accident, he’s left seemingly alone in the world and desperately seeks to learn what happened to his brother after death.

Writer Peter Morgan (“The Queen,” “Frost/Nixon”) has created an original work that easily matches and perhaps surpasses his prior Oscar-nominated scripts. The way he handles the age-old questions of the afterlife strikes an audacious balance: he doesn’t embrace or cast aside any particular faith’s answers, yet he still finds a resolution that should be satisfying to anyone of any belief background.

And when the story strands come together, Morgan and Eastwood forgo the expected, walloping “Holy cow!” moment at the end. Rather, the fact that the twists are subtly surprising rather than shocking is in itself after a decade in which it seems more and more heavy dramas seek to hammer viewers over the head with heavy-handed showmanship.

“Conviction,” meanwhile, tells a powerful story on a more earthbound level. Based on the true life story of how a small-town waitress named Betty Anne Waters (played by Swank) went back to school and earned everything from her GED to a law degree in order to save her brother Kenny (Rockwell) from an unfair life prison sentence, it is propelled by gritty sense of the can-do American spirit and the universal power of family ties.

Betty and Kenny grew up in a highly dysfunctional home and indulged in numerous forms of delinquent behavior as children before Betty matured into married life and Kenny continued his hard-partying ways. But when a local woman is brutally murdered, Kenny is called in for questioning before being set free due to a lack of evidence.

He is arrested two years later, however, and subjected to a trial in which he is convicted based on a nasty stream of testimony from an array of witnesses. Betty swears she will fight to get him out, starting a grueling 18-year journey in which the small-town waitress earns her law degree and then teams up with famed lawyer Barry Scheck (yes, the DNA expert from the OJ Simpson trial) to plead for the admission of DNA evidence.
It may appear that the entire story was just revealed, but there’s a whole lot more going on in “Conviction.” This is one of those tales where the truth is stranger than fiction, and a gritty tale of rough people in tough times in an often-overlooked corner of America.

Director Tony Goldwyn and writer Pamela Gray have created a film that, like “Hereafter,” wrestles with big issues in a smart fashion, and which also employs subtlety throughout before reaching a cumulative powerhouse ending.

But it’s with the actors that “Conviction” really scores its points. Swank may be one of the few actors in Hollywood history to have won two Oscars, but her performances in “Boys Don’t Cry” and “Million Dollar Baby” were so hard-edged that she was more impressive than relatable. Here, she finds a warmth that has eluded her work thus far.

But Rockwell burns through the screen with a performance that combines rock-star charisma with an unpredictable violent streak crossed with quiet despair. And Juliette Lewis (a past Oscar nominee for “Cape Fear”) might just win the supporting actress Oscar for her portrayal of a slimy white-trash woman who proves to be way more trouble than Kenny ever expected.

Both films add to an impressive slate of fall releases, including “The Town” and “The Social Network,” that are proving that audiences are craving intelligent stories with great performances. Sure, “Jackass 3D” might have set box-office records this past weekend, but “Hereafter” and “Conviction” will have a far more lasting impact on viewers’ minds and spirits.

Not to mention they’re all a bunch of minority-bashing fear mongers. Why does anyone continue to allow this hateful, extremist group to exist? Am I the only one who feels that they could stand to learn a lot from the peaceful, Muslim folk?

If I hadn’t been raised in such a logical household, the entertainment industry would have elicited only one reaction from me in regards to “Christians”; “Good God, these people are crazy.”

It all started with the flick “Carrie.” Who can forget Sissy Spacek’s loopy, evangelical mom citing Bible verses amidst insane spiritual tirades until she was finally skewered with every kitchen utensil in the cabinet…all to a disturbing orgasmic moaning session. The scene was used to drive the point home: Christians are dangerous and nuts, but they’re great to make fun of.

Even though ripping on those of the Christian cloth is nothing new, edgy, or thought provoking, Hollywood feels the need to do it with each of their religiously overtoned talkies. It’s gotten to the point where even the completely irreverent Matt Stone of “South Park” has expressed sentiments of pulling his punches on “society’s whipping boy.”  I hope you’re listening Seth McFatlane (the name is childish I’ll admit, but I accept it). The fact is, it’s been done to death.

But why is that? We’ve never seen Hollywood go after Buddhism, Hinduism, or even Islam. I’d be inclined to believe that it’s due to the first two revolving around more subjective moralities (which is cool with the 310) and the latter… well, they blow crap up. Sure Muslims are the cause of virtually all terrorism in the world today, yet the good old folks of Tinseltown go out of their way to portray them as “good people, given a bad name by extremists” (see “Babel,” “Kingdom of Heaven”). On the other hand, we’ve got Conservative Christians who are statistically far and away the most generous people on the planet (whether you’re judging by missionary work or basic tax returns) consistently being portrayed as hateful villains often using scripture to justify horrifying acts (see nearly every spiritual horror/psycho thriller movie made in the last three decades). Disregard the fact that people like my middle-class father annually give more to charity than President Obama and Joe Biden combined, because folks like Sean Penn have already boxed him in as a greedy, judgmental jackass. If people in the Sean Penn clan feel that way, then it’s got to be true!

So I ask all Christians, Agnostics, and Atheists alike: when is enough, enough? Hasn’t this beating of the dead horse (*insert John Kerry joke here*) grown tiresome? Isn’t it time to move on?

I think the time for an “anti-establishment uprising” has come… And by that, I mean it’s time for Hollywood to take a serious risk in their portrayal of modern-day Christians.

Here’s a premise for you: They’re well-meaning people with a heart for helping others. Run with it.

Only one of this year’s Best Picture nominees has inspired any real passion from the broad public. The almost-certain Best Picture winner is Slumdog Millionaire (Fox Searchlight), and its devotees, including critics and members of the Academy (not to mention yours truly), have made it a word-of-mouth smash hit. The Danny Boyle-directed feel-good Bollywood fusion movie made for a meager $14M added another $2.05M or so on Friday and is charting a 3-day course for about $7.4M. That will give the Slumdog a $77.4M take, and it could reach $90M-$95M before it’s through in American theatres.

David Fincher's The Curious Case of Benjamin is the only 2009 Best Picture nominee to top $100M

The other four Best Picture noms are The Curious Case of Benjamin Button (Paramount), Milk (Focus), The Reader (Weinstein) and Frost/Nixon (Universal). I approached  Benjamin Button as a little kid might approach broccoli. (You’re not allowed to leave the table until you eat it, and it’s supposed to be good for you.) It’s very long, a bit pretentious, and not nearly as good as other David Fincher-directed films like Se7en and Zodiac. After opening strong, the movie is now fading despite 13 Oscar nominations, selling about $640,000 in tickets Friday for a likely $2.24M 3-day. The cume will be a respectable $120M by Monday, but how many people have you actually heard saying, “I love Benjamin Button!”

The Reader, Milk and Frost/Nixon are now on as many screens as they will ever be, and they are certainly not setting the world on fire. Here’s how the five movies nominated for Hollywood’s biggest prize are performing this weekend.

BOX OFFICE PERFORMANCE OF BEST PICTURE NOMINEES FEBRUARY 6-8
Slumdog Millionaire – $2.05M Friday – $7.4M 3-day – $77.4M cume
Benjamin Button – $640K Friday – $2.4M 3-day – $120M cume
The Reader – $605K Friday – $2.3M 3-day – $16M cume
Milk – $285K Friday – $1.1M 3-day – $25.2M cume
Frost/Nixon – $189K Friday – $753K 3-day – $15.6M cume

Aside from Slumdog Millionaire, there’s not much box office upside here. Ben Button is unlikely to reach $130M, while Milk will probably fall short of $30M. The Reader could add a possible $8M before its done, and Frost/Nixon won’t even get to $20M domestic.

Frank Langella and Michael Sheen in Frost/Nixon, unlikely to top $20M domestic

PROJECTED CUMES OF 2009 BEST PICTURE NOMINEES
Benjamin Button – $127M cume (projected)
Slumdog Millionaire – $95M cume (projected)
Milk – $29M cume (projected)
The Reader – $23M cume (projected)
Frost/Nixon – $19M cume (projected)
Combined projected cume: $293M

If those numbers hold, the 2009 awards season will have given us three of the six weakest performing Best Picture nominees of the last decade.

TOP 10 LOWEST GROSSING BEST PICTURE NOMINEES OF THE LAST DECADE
1. 2006 – Letters From Iwo Jima – $13.75M cume
2. 2009 – Frost/Nixon – $20M cume (projected)
3. 2009 – The Reader – $25M cume (projected)
4. 2005 – Capote – $28.75M
5. 1999 – The Insider – $29M
6. 2009 – Milk – $30M cume (projected)
7. 2005 – Good Night & Good Luck – $31.5M cume
8. 2002 – The Pianist – $32.5M cume
9. 2006 – Babel – $34.3M cume
10. 2008 – There Will Be Blood – $40.2M cume

Now just two weeks away, the 2009 Oscar ceremony could be a Waterloo of sorts for the Motion Picture Academy. First-time Oscar producers Bill Condon and Lawrence Mark have promised something daring. A re-imagining of the Academy Awards telecast, coming off last year’s all-time lowest ratings.

Hugh Jackman, the talented Australian actor, will serve as host. He previously won an Emmy for his hosting of the Tony Awards a few years back (Here’s his opening musical number from the broadcast.) Yes he can sing and dance, but can he overcome the lack of appeal of the movies that the Academy has chosen to honor?

As a hardcore movie fan, I will be watching, but the average American doesn’t care about enough of these movies to draw a substantial audience. This group of Best Picture nominees seems destined to be the second-least popular group of nominees in the past fifteen years with an ultimate combined cume of just $293M.

Thandie Newton and Matt Dillon in Best Picture winner Crash, which grossed $54.5M domestic

WEAKEST TOTAL GROSS FOR BEST PICTURE NOMINEES
- last 15 years -
1. 2005 – $245M
Crash, Brokeback, Capote, Good Night & Good Luck, Munich
2. 2009 – $293M (projected)
Slumdog, Ben Button, Frost/Nixon, Milk, The Reader
3. 2006 – $296M
Departed, Babel, Letters from Iwo Jima, Little Miss Sunshine, The Queen
4. 1996 – $306M
English Patient, Fargo, Jerry Maguire, Secrets & Lies, Shine
5. 2007 – $357M
No Country, Atonement, Juno, Michael Clayton, There Will Be Blood
6. 1993 – $368M
Schindler’s List, Fugitive, Name of the Father, The Piano, Remains of the Day
7. 1995 – $378M
Braveheart, Apollo 13, Babe, Il Postino, Sense & Sensibility
8. 2004 – $401M
Million Dollar Baby, Aviator, Finding Neverland, Ray, Sideways
9. 1998 – $440M
Shakespeare in Love, Saving Private Ryan, Life is Beautiful, Elizabeth, Thin Red Line
10. 1994 – $543M
Forrest Gump, Four Weddings & a Funeral, Pulp Fiction, Quiz Show, Shawshanke Redemption

I would love to be wrong. I’d love to believe that keeping the identities of presenters a secret, and a song-and-dance man from Down Under, and the sight of Brad and Angelina on the red carpet, and a gutsy, little independent movie from Mumbai, and a guarantee from producers that the show won’t exceed three hours, and the dramatic posthumous recognition for Heath Ledger – that it will all work to draw a huge television audience. But I am feeling more certain that ABC’s Oscars telecast this year may go down as the lowest rated ever.

Steve Mason is on Facebook and now also on Twitter.

The new movie developed by New Line and now released by Warner Bros is based on the book of the same name co-written by former Sex & the City scribes Greg Behrendt and Liz Tucillo. The line itself has come to be a reassuring fallback for women in the dating scene (and I’m guessing single guys have adopted the mentality as well in the rough-and-tumble world of dating).

Produced by Flower Films, founded by Barrymore and Nancy Juvonen (wife to soon-to-be late night TV host Jimmy Fallon), Not That Into You features a blockbuster cast, including Oscar winner Jennifer Connelly (A Beautiful Mind), Ben Affleck (Hollywoodland), Kevin Connolly (from HBO’s Entourage), Justin Long (the Mac guy from the Apple vs. PC commercials), Bradley Cooper (Wedding Crashers), Scarlett Johansson (Vicky Cristina Barcelona) and Barrymore herself. But the star who seems to add the most sizzle to the project is the one who’s literally “lived” the catch-phrase.

Emmy winner Jennifer Aniston, who reached super-stardom as Rachel on NBC’s mega-hit Friends, has been almost constant tabloid fodder since she fell into the arms of Brad Pitt. Among Hollywood’s most bankable big screen actors, the marriage seemed to elevate her to show biz royalty – until she found out that Brad was “just not that into” her.

Aniston turns 40 on Wednesday, but she made an appearance on Ellen and talked about the milestone, “I found a really long gray hair, and it kind of flipped me out. It’s not my first, but it’s the fact that it was so long. I was like, ‘Oh that’s been there. How many others are there, and what does that mean? It actually brought me to tears, slightly.” Gray hair or not, she continues to have an “on-again-off-again” romance with Grammy winning pop star John Mayer, who is about nine years her junior.

Since her divorce from Pitt, the almost-40 actress has proved to be formidable at the box office.

JENNIFER ANISTON’S LAST FIVE MOVIES
Rumor Has It – $7.5M opening (first full weekend) – $43M cume
Friends with Money – $3.2M (wide break) – $13.3M cume
The Break-Up – $39.1M opening – $118.7M cume
Marley & Me – $36.3M opening – $140M (to-date – likely to reach $145M)
He’s Just Not That Into You – $27.4M opening (projected) – $90M cume (projected)
AVERAGE OPENING WEEKEND- $23M
AVERAGE DOMESTIC GROSS – $82M

BRAD PITT’S LAST FIVE MOVIES
Babel – $5.5M opening (wide break) – $34.3M cume
Ocean’s Thirteen – $36.1M opening – $117.1M cume
The Assassination of Jesse James – $532K opening (widest weekend) – $3.9M cume
Burn After Reading – $19.1M opening – $60.3M cume
The Curious Case of Benjamin Button – $26.8M opening – $117.6M (to-date likely to reach $126M)
AVERAGE OPENING WEEKEND – $17.6M
AVERAGE DOMESTIC GROSS – $68.3M

There’s a bit of an apples-to-oranges problem when comparing these resumes, and Brad certainly has more acclaim with Golden Globe nominations for Babel and Burn After Reading and Oscar and Golden Globe nominations for Benjamin Button, but Jen is no slouch when it comes to selling tickets. She will next be seen starring alongside The Dark Knight’s Aaron Eckhart in Universal’s Traveling due later in the year.

Checking in at #2 is the excellent Luc Besson-produced and Pierre Morel-directed action flick Taken, starring Liam Neeson. The tale of the world’s most “kick-ass” Dad trying to rescue his daughter seized another $6.3M on its second Friday and that should translate to an outstanding $20.3M for a new 10-day cume of $53.36M. That represents a spectacular hold with just an 18% dip from opening weekend.

The surprise third-place finisher is Henry Selick’s Coraline (Focus), based on Neil Gaiman’s Hugo Award winning novel. Riding a tidal wave of positive reviews (88% Fresh on Rotten Tomatoes) and featuring state-of-the-art 3-D technology, the stop-action animated film has generated $4.5M in opening day sales, and studio estimates put it at $16.33M for the frame. That is well above the number that pre-release tracking suggested.

The film was made for a relatively hefty $60M, and the languid pace of digital conversion at America’s multiplexes means that there are only about 900 screens showing Coraline in 3-D with the other 1,400 or so in traditional 2-D presentation. Given the movie’s dark tone and the limited availability of 3-D, Focus will be thrilled with a $16M start.

The major disappointment of the 3-day is Pink Panther 2 (Sony). The reviews have been horrific (14% Fresh on Rotten Tomatoes), and Steve Martin must realize that, although he may be cashing a big paycheck, the brilliant Peter Sellers is almost certainly “spinning in his grave.” After a $20.2M opening for the original sub-par remake in 2006, Pink Panther 2 appears to be a dud with a meager $3.4M Friday. The picture is skewing young and got a decent Saturday and Sunday matinee bounce, but the sequel’s opening frame will be about $11M, down a full 45% from Martin’s last go-round as Inspector Clouseau.

The other new wide release is Push (Summit Entertainment), which is in the mold of NBC’s Heroes and the X-Men franchise. Reviews are pretty awful (27% Fresh on Rotten Tomatoes) and the box office performance equally disappointing. The picture delivered only $3.5M or so on Friday (#5 for the day), and it will stumble to a soft $10.2M according to Summit, #6 for the weekend behind Paul Blart: Mall Cop (Sony). The under-estimated Kevin James comedy meanwhile, will add another $11M or so over the 3-day for a new cume of $97M.

EXCLUSIVE STEVE MASON EARLY FRIDAY ESTIMATES
1. NEW – He’s Not That Into You (Warner Bros) – $10.5M, $3,307 PTA, $10.5M cume
2. Taken (Fox) – $6.3M, $1,979 PTA, $39.36M cume
3. NEW – Coraline (Focus) – $4.5M, $1,958 PTA, $4.5M cume
4. NEW – Push (Summit) – $3.5M, $1,513 PTA, $3.5M cume
5. NEW – Pink Panther 2 (Sony) – $3.4M, $1,513 PTA, $3.4M cume
6. Paul Blart: Mall Cop (Sony) – $2.7M, $852 PTA, $88.7M cume
7. The Uninvited (Paramount) – $2.1M, $896 PTA, $14.07M cume
8. Slumdog Millionaire (Fox Searchlight) – $2.05M, $1,189 PTA, $72.07M cume
9. Gran Torino (Warner Bros) – $2M, $739 PTA, $1156.03M cume
10. Underworld: Rise of the Lycans (Sony) – $1.15M, $563 PTA, $36.9M cume
10. Hotel For Dogs (Dreamworks/Paramount) – $1.1M, $402 PTA, $50.5M cume
12. New in Town (Lionsgate) – $1.05M, $541 PTA, $9.67M cume

STUDIO ESTIMATES FOR FEBRUARY 6-8
1. NEW – He’s Not That Into You (Warner Bros) – $27.46M, $8,650 PTA, $27.46M cume
2. Taken (Fox) – $20.3M, $6,376 PTA, $53.36M cume
3. NEW – Coraline (Focus) – $16.33M, $7,105 PTA, $16.33M cume
4. NEW – Pink Panther 2 (Sony) – $12M, $3,700 PTA, $12M cume
5. Paul Blart: Mall Cop (Sony) – $11M, $3,471 PTA, $97M cume
6. NEW – Push (Summit) – $10.2M, $4,412 PTA, $10.2M cume
7. Gran Torino (Warner Bros) – $7.42M, $2,743 PTA, $120.28M cume
8. Slumdog Millionaire (Fox Searchlight) – $7.4M, $4,292 PTA, $77.42M cume
9. The Uninvited (Paramount) – $6.4M, $2,730 PTA, $18.37M cume
10. Hotel For Dogs (Dreamworks/Paramount) – $5.82M, $2,129 PTA, $55.23M cume
11. Underworld: Rise of the Lycans (Sony) – $3.9M, $1,910 PTA, $39.65M cume
12. New in Town (Lionsgate) – $3.3M, $1,700 PTA, $11.92M cume

Steve Mason is on Facebook and now also on Twitter.