The tea leaves tell us that this is a more unpredictable Oscar race than most people are perhaps willing to admit.
Martin McDonagh very well may have had this one in the bag the moment Mildred first utters the word “culpable” to the priest in Three Billboards.
It’s easy to imagine AMPAS voters watching Icarus and collectively sighing with relief that it’s actually possible for Russia’s hubris to get its just deserts.
Surviving Operation Dynamo would have been a snap compared to having to write about both sound categories for many years in a row.
Baby Driver rolls up to the Oscar party as a serious threat in both sound categories, though perhaps less so in this category that tends to favor films that are also best picture nominees.
Sam Rockwell did more on the campaign trail to legitimize unlikely redemption than anything Martin McDonagh gave him to work with.
The surprising snub of Fatih Akin’s Golden Globe-winning In the Fade was supposed to make calling the foreign language Oscar much easier.
Gary Oldman’s assured win over the two main critics’ favorites, Timothée Chalamet and Daniel Kaluuya, represents an unabashed retrenchment that’s entirely off brand in this Oscar year.
Here’s one prize at least that will ensure that Phantom Thread, Slant’s favorite film of 2017, won’t be wearing the emperor’s new clothes.
Best achievement in cinematography has emerged as the Oscar category most likely to offend Film Twitter when its winner is announced.
It’s difficult to imagine AMPAS not wanting to give Andy Serkis’s swan song as Caesar a pat on the head for a job well done across the new Planet of the Apes trilogy.
You’d be hard pressed to find anyone who didn’t feel as though Baby Driver reached out to them directly from the screen to ask if they would care to have this dance.
Sometimes an Oscar victory lap begins as early as the first time a future legend loses out on an Oscar, and then another, and then another.
At the Oscars, uplifting social-justice dirges have become during the current decade what Alan Menken and Stephen Schwartz were to the ‘90s.
Guillermo del Toro is a profoundly gifted formalist with a uniquely perverse obsession with the binaries that separate us as human beings.
In a weird double-dipping twist of fate, the nominees behind Beauty and the Beast and Darkest Hour will be competing against themselves in two separate Oscar categories.
The only viable contenders for this award are films populated by those who our boss baby in chief is committed to keeping out of the U.S.
Jonny Greenwood’s florid work on Phantom Thread culminates what, for most Radiohead and PTA fans, has been the ultimate best-case scenario.
Throughout the awards season, Frances McDormand has remained impervious to the controversy whirling around Three Billboards.
To look back at the category’s history reveals that it has swung back and forth between monster latex and regal lace fronts as widely as the nation’s own political pendulum.