We may as well just light it up and acquiesce to the inevitable all-consuming blast.
Anyone who has followed this year’s Oscar race for Best Picture knows that the stats above are not meant as a joke.
It’s too bad the guild award that most strongly corresponds with this category—the Motion Picture Sound Editors’ “Golden Reel”—doesn’t get handed out until Feb. 24.
Because Oscar history tells us that the winner of this award aligns often with the winner of the top prize, we were hoping for ACE to shed some light on what may be the tightest best picture race ever.
We’ve noticed a certain trend among “professional” Oscar prognosticators—first and foremost among them Dave Karger—in dealing with the question of Dreamgirls.
Last year we sided with the musical candidate and crapped out when voters went for the big black ape instead of the man in black.
There isn’t a single short I can recommend in this category without some reservation.
At least for the last few years, the voters in this category have shunned instant gratification and gone with more impressionable rewards.
It would seem that this year’s cinematography nominees were picked by aliens.
The Academy has shown great resistance to awarding costumes without corsets.
For whatever reason, it’s not Peter O’Toole’s perfect 0-for-7 record leading up to this year’s Best Actor contest that’s standing in award-magnet Forest Whitaker’s way to a win.
This category makes me sad for what it exposes about the way Academy Award winners are made and potentially set up for embarrassing falls.
With The Departed, William Monahan turned what was, in Infernal Affairs, a smart concept given a terminally vague execution into a high-concept vehicle fit for mass consumption.
I’ve always liked the Dixie Chicks, if not for their music then for their outspokenness and refusal to play by Nashville’s rules.
If Martin Scorsese loses again this year he will become the director with the most nominations in this category without ever winning.
Sure, the last time the majority of nominations in this category belonged to a single film, said film actually won.
We seem to do better at picking a winner when we actually haven’t seen the nominated films.
So essentially meritless are the films up for this award, it’s hardly worth discussing the merits or demerits of each as a viable candidate.
Character trajectories have never come this easy—at least not since Tsotsi last year.
Yes, when making our three-out-of-five predictions on who would be nominated here, we argued how refreshing it was to see a prospective category stocked with supporting performances, instead of co-leads.
The only time a Pixar film has lost in this category was the only time one deserved to win.