The common refrain this season has been one of despair, of theatrical death by dearth.
Do we even need to talk about Dogtooth’s chances?
I see no reason why this entry need be any longer than Ed’s post yesterday.
Oscar loves a saint, but in the supporting categories at least, they love losers even more.
It’s like a perfect battle. New guard vs. old school. The power of youth vs. the experience of the established. Trash vs. class.
We’re going to risk making the “kids with cancer” mistake again by calling this for Wish 143.
If you don’t think voters eat up amateur artistry finessed from injustice, then you’ve apparently forgotten about Born Into Brothels.
For legit animated artistry behold Madagascar, a Journey Diary and The Lost Thing.
The album of the year lineup lacks a Social Network to really make the Oscar comparison complete.
Rule number one for prognosticating the Best Original Screenplay category: Rule out Mike Leigh at your own peril.
When Waiting for Superman surprisingly but rightfully got Oscar’s cold shoulder, the hunt for the documentary feature prize suddenly became a wide open one.
Colin Firth ain’t the only one riding The King’s Speech to an “overdue” Oscar win.
It’s weird to think that this category has only been around since 1981, when Rick Baker won for his iconic makeup effects for An American Werewolf in London.
It’s difficult not to be cynical about a contest that’s so easily manipulated by hype and publicity.
Now, to be clear, Inception, which makes the juggled alternate realities of Back to the Future Part II seem complicated in comparison.
We’re picking this one out of a hat, folks.
All season long, two prominent Oscar players have straddled the uncomfortable line between aligning with the supporting and leading categories.
Welcome to the Oscars, celebrating the craft of acting and extolling your wildest dreams since 1929.
This year’s slate of contenders indicates voters are ready to see the men behind the monsters.
Will Emmy finally and mercifully annul its relationship to 30 Rock?
This has to be the toughest prediction year since Avenue Q shockingly walked away with the Best Musical prize six years ago.