The common refrain this season has been one of despair, of theatrical death by dearth.
If you want a good cross-section of Oscar habits, look no further than this year’s top five candidates for Best Actress.
The directing race has boiled down to nine names, four of which you can pretty safely etch into stone.
It’s both unfair and too easy to shake out predictions for this category based on what is most likely to appeal to the Kindle Fire set.
Which performance will land Jessica Chastain her first Oscar nomination?
Stoking one’s cynicism over this category is the very real probability that Jonah Hill will be an Oscar nominee.
The Artist seems likely to not only get nominated, but also win.
Since The Artist’s ubiquity is even growing tedious for those who kneel at its grayscale altar, let’s just stick to the facts.
The Academy rarely passes up the chance to gush over black-and-white lensing.
The “Drudge siren” headline this year is that Pixar’s uncharacteristically horrible Cars 2 will probably keep the house that Woody built completely out of the race.
Going up against the queen—who’s dressed by Lisy Christl—will surely be Hugo’s Sandy Powell.
Seven finalists remain in the race for Best Makeup, the category that’s poised to prove just how strong a frontrunner The Artist actually is.
First take a look at the 15 feature films nominated by the Art Directors Guild.
The biggest hurdle for Malick’s answer to 2001 may be the demonstrable fact that this category favors movies with titles longer than your average James Joyce sentence.
Few would argue against The Tree of Life being one of the very best films of the year, but it remains the biggest wild card of awards season.
Steven Spielberg’s old-school insta-contender has its own inherent, frontrunner-battling virtues to get behind.
A Best Actress nomination for Mara doesn’t seem likely, either, even with the Golden Globe nod and handful of critics’ honors she’s got under her studded belt.
This season presents two Oscar contenders, Hugo and The Artist, that both bask in the dreaminess of cinema’s early days.
Michelle Williams quickly settles into one of the year’s best performances, and one of its purest sources of movie bliss.
The Descendants is unassumingly superb, and it’s sure to clinch a whole lot of Oscar nominations. Indeed, it’s a Clooney.
The film has limited mass appeal, and what Clint Eastwood brings this time out is more a deft shepherding of others’ talents than a showcasing of his own.