The common refrain this season has been one of despair, of theatrical death by dearth.
It’s at this point we had to ask ourselves, “Is Argo really going to end up a two-Oscar Best Picture winner?”
Jennifer Lawrence is taking a page from Mo’Nique’s book and playing the campaign game by her own rules.
Let’s try to rid our minds of the deplorable notion that Spielberg and Lee are contending for an award that belongs to Affleck.
It bears mentioning that one of the two times we’ve gotten this category wrong was when we disregarded the almost always reliable frilliest-always-wins rule.
More than in any of the other categories it’s nominated in, the unreal fall from grace suffered by Zero Dark Thirty will be particularly palpable when it inevitably loses here.
Typically, there’s at least one Oscar-nominated score that stands out as unique, with memorable flourishes that push it ahead as the frontrunner.
Just as we’d expect from the Academy, there’s no shortage of lushness on display in this year’s nominees for best cinematography.
It almost seems like AMPAS is trying to pull one over on us—or, at the very least, sneak one past us while we’re not looking.
Every time I consider this category, the voice of The Chipmunk Adventure’s Miss Miller pops into my head, singing, “C’mon a my house, my house a c’mon.”
Like Avatar before it, Life of Pi is the kind of Oscar-y prestige pic that also stands as a benchmark for the medium.
The larger-than-life aura that Daniel Day-Lewis breathes into the characters he portrays seems also to have in recent years extended to the actor himself.
Here’s what we know: Awards shows have and always will be popularity contests.
Perhaps “Michael Haneke” himself best elucidates the success of Amour by describing the film it could have been but no one, except possibly for us, would have wanted to see or give an Oscar to.
The 2012 Record of the Year nominations seem to be transparently based largely on familiarity.
All right, all right, all right. We should’ve known.
Kelly Clarkson’s “Stronger (What Doesn’t Kill You)” pounds its message of survivalism with nothing resembling nuance, but also nothing resembling fragility.
An award for makeup may be just the thing with which to bless Peter Jackson’s return to Middle-earth.
Until Maroon 5 won this category over Joss Stone in 2005, the previous male winner was, yes, Hootie & the Blowfish in 1996.
Conventional wisdom would suggest that Brave is a favorite to take this year’s prize.
Starting tomorrow, we will predict the winners in all four general field categories of the 55th Annual Grammy Awards.