There’s an enigmatic quality to the role of Nolan in the current filmmaking landscape.
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.
I Want to Go Home has a splenetic oddball quality that’s at odds with the evanescent tendencies of Alain Resnais’s later films.
Yet another case of fractured narrative storytelling in service of a story that would be shamelessly cliché if it were told in linear fashion.
At first coming off as a step backward for Resnais, the theatricality of Mélo becomes a different sort of experimentalism.
Maurice Pialat was, by all accounts, a difficult man.
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.
Jumper is a film crippled from the start.
These four documentary shorts may account for the richest slate of nominees this year.
Like his more famous The Cabinet of Dr. Caligari, Robert Wiene’s The Hands of Orlac is ponderous but indelible.
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.
The film suggests the glamour of idealistic suicide, whereas Weekend embodies the residual rage of someone who couldn’t seal the deal.
This Balzac adaptation is a costume drama that bristles with measured passion.
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.
On Valentine’s Day we’re turning the House lights way down low, and offering a little special something…for the looooovers.
Guinea Pig is minimal budget filmmaking with incredible effects.
Yes, we know Daniel Day-Lewis has this one in the bag.
Redbelt is faithfully cast in the tradition of Jean-Pierre Melville’s Le Samouraï.
Fatherless children are the order of the day, but the film develops this theme no more than the absolute minimum.
Beyond Belief is a poignant portrait of how these women cope with their roles as 9/11 widows.