The larger-than-life aura that Daniel Day-Lewis breathes into the characters he portrays seems also to have in recent years extended to the actor himself.
Perhaps “Michael Haneke” himself best elucidates the success of Amour by describing the film it could have been but no one, except possibly for us, would have wanted to see or give an Oscar to.
All right, all right, all right. We should’ve known.
Kelly Clarkson’s “Stronger (What Doesn’t Kill You)” pounds its message of survivalism with nothing resembling nuance, but also nothing resembling fragility
An award for makeup may be just the thing with which to bless Peter Jackson’s return to Middle-earth.
Conventional wisdom would suggest that Brave is a favorite to take this year’s prize.
Starting tomorrow, The House will predict the winners in all four General Field categories of the 55th Annual Grammy Awards, airing February 10th on CBS.
Blergh. Weeks ago I dreamed a dream where all the particulars of my presently contentious relationship with Anne Hathaway were manifest.
No single element of no single film in recent memory has more shamelessly been invented for the purpose of snaring just one more Oscar nod than “Suddenly.”
By now, most awards watchers are aware of Tony Kushner’s grand task of translating Doris Kearns Goodwin’s Team of Rivals.
Looking back on the last decade of winners in this category, you might begin to see a pattern.
It’s a boon for a short to taste like a flavor of the moment contending for best picture.
The email paper trail this year’s live-action short category has left in its wake has litigation written all over it, but our expert panel [sic] managed to agree on at least a few things.
Yesterday’s Oscar nominations came with major snubs, but it certainly wasn’t the first time the Academy stuck it to likely contenders.
The entries on this list offer a glimpse of the staggeringly dissimilar outcomes of music video’s democratization.
We spoke with Lonergan about the formal and structural qualities that make Margaret an uncommon cinematic experience.
Two thousand and twelve was, if nothing else, a banner year for uncommonly productive provocation.
Whatever the future holds, 2012 showed that the album remains a viable method of expression.