Summertime, and the gimmickry’s easy.
Faith is what keeps gritty, guttural soul singer Pat Hodges going despite having arguably the toughest lot of anyone depicted in the movie.
Antony and the Johnsons’s newest LP proves that Hegarty’s ideal backdrop might just be nothing at all.
The list of “obstructions” ought to be familiar to anyone with any exposure to this parlor game.
We’ve stormed the gates and are now officially part of the canon-forming establishment…or (fingers crossed) the canon-altering anti-establishment.
It’s only the third tale that transcends the movie’s pleasant aura of video cult hit mediocrity.
Don’t be shocked if this all turns out to be nothing more than a Pied Piper act.
It sounds a lot like Believe was recorded on both sides of the chasm.
That Usher would arrive at Looking 4 Myself seems like a natural result of his musical Benjamin Button act.
C’mon, punks. Gimme, gimme, gimme…a moan after midnight.
Rest in peace high up where the stallion meets the sun.
Like a Tumblr-meme version of “Get Together,” “Girl Gone Wild” is a rabbit hole of repurposed content.
That the Best Picture category’s “Will it be six or will it be seven?” question was settled as close to 10 as possible without actually being 10 isn’t merely a mark of how much of a mess this year’s Oscars are.
A lot of pundits think Hugo’s love train through the tech categories will stall out before reaching the sound duo toward the bottom of the ballot, and that War Horse will gallop past it to win by a nose.
For the record, sound mixing is the sort of umbrella sound category, whereas sound editing represents the “special effects” angle of movie sonics.
It’s unavoidable to look at Octavia Spencer’s sunny Oscar odds though the filter of co-star Viola Davis’s ascendance in the Best Actress category.
Even though Lubezki is backed, for the first time ever, by a Best Picture nominee, he’s also almost entirely surrounded by nominees that can boast the same.
One could argue that voters might feel compelled to use this final opportunity to throw the highest-grossing film franchise ever a bone for its last chance at bat.
In years past, we’ve written off this category’s most obvious UNICEF candidates by virtue of their lack of any value outside of insistent efficacy.
Christopher Plummer has earned this year’s “It’s time” with absolutely no resistance.