Where Allen is sure to perform well is in the Best Original Screenplay category, where he’s been nominated a total of 14 times.
Unwieldiness seems to follow Madonna’s W.E. wherever it goes.
J.C. Chandor is able to mine potent workplace drama, and pluck tender nerves that are widespread among the current populace.
This season presents two Oscar contenders, Hugo and The Artist, that both bask in the dreaminess of cinema’s early days.
Michelle Williams quickly settles into one of the year’s best performances, and one of its purest sources of movie bliss.
The Descendants is unassumingly superb, and it’s sure to clinch a whole lot of Oscar nominations. Indeed, it’s a Clooney.
The film has limited mass appeal, and what Clint Eastwood brings this time out is more a deft shepherding of others’ talents than a showcasing of his own.
Roland Emmerich’s film is an interesting case in that it may very well be its director’s best work; however, a better director is the one thing it surely needed.
The Help represents a pitiful lack of progress, and that’s hardly an indictment of the ways its characters and events are depicted on screen.
No film this year is poised to collect more Academy Award nominations than Michel Hazanavicius’s silent movie about the silent era.
Both images emit a roaring, pompous confidence in their lead candidates.
If ever there were a Brad Pitt performance worthy of awards talk, surely it’s the actor’s turn in the unexpectedly sophisticated Moneyball.
It’s hard to discuss the Oscar chances of the cast without thinking of all four fuming co-leads as being yet more hamsters on the Academy’s wheel.
This is a complete list of our predicted winners at the 2011 Academy Awards.
The ascendance of the stuttering king and Oscar’s perceived instantaneous regression into the mottled pastures of White Elephant Cinema has rendered some of our most reliable barometers speechless.
Six. That’s the number of times the DGA winner has failed to win the Oscar. Advantage: Tom Hooper. Two thousand and three.
And so it is that Oscar bloggers, seeking to itch the scratch Leo’s blatant assertion that campaigning, not prognosticating, is what wins Oscars, have collectively shifted the balance of power back to the plucky 14-year-old girl who tore through every scene (every. scene.)
We’ve been forced to play things a little more conservatively than we would like.
Conventional wisdom says that one film wins both sound awards only about half the time.
For Annette Bening, it seemed as if the stars in the Oscar sky had finally aligned into a shape that wasn’t that of Hilary Swank’s face.