This awards season, the swag we received from studios could have filled a small warehouse.
Babylon is progressively feeling like a “circle the wagons” moment for a Hollywood.
Well, now, this is awkward.
What does it say that the last five rounds have been won by latex-assisted actorly transformations into real-life notables?
The meticulousness of one film’s technical proficiency is the stuff of Oscar glory.
Every year the Oscar race blessedly gives us a few free spaces.
Two indisputable trends come to a head in this year’s Oscar race for production design.
Ke Huy Quan proves his winning hand by holding out hope through his character’s pain.
Only one short here gets to have its My Octopus Teacher cake and eat it too.
Self-reinforcement can start in different ways, such as a roomful of laughter.
We begin, as we always do, with the categories that are actually fun to predict.
There’s every reason to expect Oscar to keep on Oscaring as it’s always done.
Even if this isn’t actually The End of Movies As We Know It, it’s unmistakably The End of Peak Oscar.
It’s once again AMPAS’s moment to show what side of history they want to be on.
We’re countering this Oscar year’s slow death of a thousand cuts by ripping the whole bandage off.
David Fincher’s Mank far and away led the nomination count.
Twenty-twenty was by no measure a business-as-usual year, so don’t expect our gripes to be either.
Parasite earned four awards, edging out 1917 for best picture.
A lot can change on a campaign trail in a matter of weeks, days even.
How could the essentially non-political 1917 not arrive as sweet solace in our cultural moment?