With its concentration on the music industry, it's easy to forget that the Grammys have a few movie-related categories. They include best compilation soundtrack album, best score soundtrack album and best song written for motion picture, television or other visual media. One thing that's always odd with the Grammys, though, is how many nominees are so old. Take a look at the score/composer nominees, for example: Babel (Gustavo Santaolalla); Blood Diamond (James Newton Howard); The Departed (Howard Shore); Happy Feet (John Powell); Pan's Labyrinth (Javier Navarrete); Ratatouille (Michael Giacchino). Only the last of those films came out in 2007. But the eligibility period for the Grammys is always October of the previous year until the end of September of the current year. All but Ratatouille's soundtrack were released in October, November and December of 2006. Since the Grammy ceremony is only a couple weeks prior to the Oscars, the ancient films honored are easily seen as that much more old news (Babel won the 2007 Academy Award for score).

Happy Feet was also recognized in the best song category, for "The Song of My Heart" by Prince (who already has the best soundtrack of all time), despite its not having received an Oscar nomination. Same goes for one of its competitors, Casino Royale theme song "You Know My Name", co-written (with David Arnold) and performed by Chris Cornell. Dreamgirls' "Love You I Do", written by Siedah Garrett and Henry Krieger (performed by Jennifer Hudson) is the only overlap from last February's Oscar nominees (it lost to Melissa Etheridge's "I Need to Wake Up" from An Inconvenient Truth). The other recognized tracks, both from 2007 releases, are Eddie Vedder's "Guaranteed" from Into the Wild and Glen Hansard and Markéta Irglová's duet "Falling Slowly" from Once.

Once is also a contender for best compilation soundtrack, though it faces a huge challenger in The Beatles, who are recognized for the album for the Cirque du Soleil show Love (how does that fall into this category and not the one for musical show album?) and indirectly for the soundtrack to the movie Across the Universe, which features covers of the band's tunes performed by the movie's cast. Other soundtrack nominees are retro musicals Dreamgirls and Hairspray. Sorry, fans of High School Musical 2.

I have to admit ... while I am a fan of certain Police songs -- and I definitely had a moment in the 7th grade when I actually owned a Police record and listened to it regularly -- I think Sting is really pretty annoying. And I'm not excited at all about a Police reunion. In fact I feel taken advantage of. Sting is just weird ... in a 'South Park' way. He's weird to me the way Yanni or Fabio are weird. And I resent (a little) having to sit through his awful performance.

Generally, I think band reunions just suck. They shouldn't be allowed; they (reunions) are wrong, and in so many ways just not fair. Once a band breaks up, for whatever reason ... they should stay that way. The problem is that we (the public) allow this to happen. And we allow it in a way that we wouldn't allow for any other artist. I mean, what if Leonardo Da Vinci decided, 15 years after he painted the original, to repaint the Mona Lisa? The public would cry, "Haven't you got anything new?" Or what if a designer decided suddenly to just put out one of his old collections again, because it was popular the first time. We would cry: "BULLSHIT!"

But the worst part about the Police reunion to me is the message it sends to other bands of the same ilk. That maybe it's OK for them to get back together. Holy crap ... can you imagine? What if some of the Police's contemporaries from back in the day suddenly appeared together? Ha!! Huey Lewis and the News, Dexys Midnight Runners, The J. Geils band, Toto. What a mess we would have on our hands, you know? I say, if you want to be around in 15 years then you have to stay in the game for 15 years. You have to stay together, and relevant, and touring and proliferating. Playing only in Vegas doesn't count. You have to stay IN THE GAME. Like the Red Hot Chili Peppers for instance ...

One of the paradoxes of Hollywood is that the more money you have, the more companies want to give you their expensive stuff - for free. Over the past several years, the concept of "gifting" celebs, both nominees and presenters, at awards shows, has grown to the point that it almost eclipses the show itself. The Grammy gift baskets were worth $54,000, the Golden Globes swag worth $62,000. Each.  During Sundance, Cinematical talked with Jono, Moviefone's "swag king", about the phenomena, and what differentiates good swag from bad.

What's in it for companies? In theory, the chance to get their product in the hands of trend-setting celebs, with the hope that when commoners (that would be us) see Gwyneth Paltrow taking a free cruise valued at $22,000, we'll somehow be inspired to do the same. I don't know about you, but hey, sure -- if a cruise is good enough for Gwynnie, heck, I'll dig that $22K out of my couch cushions and catch the next cruise out of the Port of Seatle. Or not.