For those enmeshed in the critical universe, or just plain savvy about film, pullquotes can have a powerful effect.
It bears mentioning that one of the two times we’ve gotten this category wrong was when we disregarded the almost always reliable frilliest-always-wins rule.
Typically, there’s at least one Oscar-nominated score that stands out as unique, with memorable flourishes that push it ahead as the frontrunner.
Any major-race hopes that Focus Features may have had for the film were basically dashed this week.
So it is that the one year we didn’t stick to our frilliest-always-wins guns here, allowing ourselves to be blinded by the sheen of Keira Knightley’s emerald green dress from Atonement, we came up short.
Though we’ve kicked EW’s Dave Karger’s teeth in when it comes to the overall number of correct predictions for the last few years, our track record has unfortunately not extended to the Best Picture category.
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.
If we learned anything last year, it’s that the more independent-minded the nominations, the more disappointing and reactionary the likely winner.
Expect voters to follow In Style’s lead and screw, yet again, Colleen Atwood’s exquisite contributions to Tim Burton’s latest gothic reverie.
Prior to the Oscar season, one award you could say Atonement had a firm grip on without sounding like a chronic masturbator.
The blogosphere couldn’t care less about this award now that Jonny Greenwood’s There Will Be Blood score was preemptively taken out of competition.