The common refrain this season has been one of despair, of theatrical death by dearth.
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.
Berlin is a no-go this year, and because I wasn’t able to make it to Venice, Toronto, and Vladivostok in 2007, or travel to the Festival du Film Polonais Cat.Studios, 12, Mongol, and Katyn are unfortunate blindspots here.
In one corner, we have the Piaf Patrol, snapping away at anyone who doesn’t proclaim the second coming over Marion Cotillard’s rolling eyes, puckering lips, and spasmodic tantrums.
For the first time since 2002, when we first started prognosticating the Oscars on this site, I’ve seen and reviewed all the documentaries competing in this category, and yet, pinpointing the winner has never felt so difficult.
Oscar’s makeup category has been kind to hobbits, men in black, extraterrestrials, and the critters of Narnia.
Hey, I just heard the funniest thing the other day.
The Recording Academy no doubt has oodles of tedium in the works for us at this year’s Grammy Awards ceremony.
One thing no one could have told you a year ago was that not one, but two darlings of the critical establishment would be frontrunners here.
The Coen brothers, Paul Thomas Anderson, and, arguably, Julian Schnabel are all pretty close to locks.
They doubted me, but then they saw, and then they believed.
This is the only one of the four acting categories that seems to have a lot of play left to work with.