We may as well just light it up and acquiesce to the inevitable all-consuming blast.
Though we’ve kicked EW’s Dave Karger’s teeth in when it comes to the overall number of correct predictions for the last few years, our track record has unfortunately not extended to the Best Picture category.
When scrutinizing this race, pundits rarely discuss precedent.
I don’t mean to speak for Ed here, but this wouldn’t be the first time we’ve started pulling back and rethinking the momentum of our day-by-day Oscar-winner forecasts.
We’ll give Fisk and Erickson an edge here, not only for having won the ADG award in the period category but for representing one of this year’s Oscar frontrunners.
In all the hubbub about Kevin O’Connell’s 20th nomination, no one has brought up the fact that the sound mixer’s co-nominee for Transformers, Greg P. Russell, has 12 winless nominations under his belt as well.
These four documentary shorts may account for the richest slate of nominees this year.
Not every tech category where No Country for Old Men and There Will Be Blood are facing off will settle in either of their favor.
Juno, they tell us, is a possible spoiler in the Best Picture race, but few seem to think its director stands a chance of winning here.
If we learned anything last year, it’s that the more independent-minded the nominations, the more disappointing and reactionary the likely winner.
Yes, we know Daniel Day-Lewis has this one in the bag.
Philip Seymour Hoffman and Tom Wilkinson will probably have to settle for the knowledge that their performances would’ve been slam dunks at the Emmys.
Expect voters to follow In Style’s lead and screw, yet again, Colleen Atwood’s exquisite contributions to Tim Burton’s latest gothic reverie.
They tried to make her go to the Grammys and she said, well, something kinda unintelligible.
For the second year in a row, this category has given the majority of its nominations to a single movie only to give the award to a different one.
Even when Pixar isn’t nominated in this category, its presence is still felt.
Guido Thys and Anja Daelemans’s Tanghi Argentini aims for beguilement but only achieves insult.
There’s obviously a certain bloc of voters in the Academy’s visual effects branch who loved seeing CGI open up a world of animal-on-animal violence.
Prior to the Oscar season, one award you could say Atonement had a firm grip on without sounding like a chronic masturbator.
Ratatouille’s batch of technical nominations in the categories where adults are allowed to play renders this contest a no brainer.
The blogosphere couldn’t care less about this award now that Jonny Greenwood’s There Will Be Blood score was preemptively taken out of competition.