In 2010, we asked, “How do you solve a problem like Avatar? How do you hold a fluorescent, floating anemone in your hand?”
No Oscar category has become as big a flash point among cinephiles as the cinematography prize.
This is a film that most would agree boasts a whole lot of locks and scant few question marks.
I’m so thankful I moved in time to take in the indelible shot of Sandra Bullock floating in an embryonic state.
Beautiful Creatures got us thinking about beautiful creatures of movies past—characters not quite human, but quite easy on the eyes.
Just as we’d expect from the Academy, there’s no shortage of lushness on display in this year’s nominees for best cinematography.
Like Avatar before it, Life of Pi is the kind of Oscar-y prestige pic that also stands as a benchmark for the medium.
Most filmgoers who see Lee’s magical-realist marine life, from bioluminescent jellyfish to migrating trout that fly, will be quick to dub the film the Visual Effects frontrunner.
A swirling storm is the proper framing device for Oz: The Great and Powerful’s first poster, which heralds its film by tossing trademark elements into a kind of artful rinse cycle.
The boy wizard’s last hurrah still, however, has a better shot in this category than Midnight in Paris.
This season presents two Oscar contenders, Hugo and The Artist, that both bask in the dreaminess of cinema’s early days.
In the five years since this category, which was previous known as Best Sound Effects, was bumped up from three to five nominations.
Here’s one of those categories where the spoils usually go to whoever shows us the “most” of whatever it is they’re nominated for.