The work must be partially faulted for being almost completely irrespective of cinema as a medium-specific mode of expression.
Throughout Malick’s film, the new and old are incessantly twinned, blurred into a package that suggests an experimental dance piece.
Despite the hysteria, it may not be appropriate yet to call a time of death on the decades and decades’ worth of precedent that will be shattered when Argo wins Best Picture.
As you might have noticed from our previous Oscar posts, one of the hottest topics among we Slant prognosticators is just how many trophies Argo is capable of collecting.
The top-notch packaging reveals Argo for what it really is: a coolly realized, wildly reckless actioner.
Let’s try to rid our minds of the deplorable notion that Spielberg and Lee are contending for an award that belongs to Affleck.
More than in any of the other categories it’s nominated in, the unreal fall from grace suffered by Zero Dark Thirty will be particularly palpable when it inevitably loses here.
It almost seems like AMPAS is trying to pull one over on us—or, at the very least, sneak one past us while we’re not looking.
All right, all right, all right. We should’ve known.
By now, most awards watchers are aware of Tony Kushner’s grand task of translating Doris Kearns Goodwin’s Team of Rivals.
The surefire frontrunners are Kathryn Bigelow, Ben Affleck, and Steven Spielberg.
Consider Bigelow a virtual lock, tightening up the Best Director field alongside Steven Spielberg, Ang Lee, Ben Affleck, and, perhaps, Tom Hooper or David O. Russell.
Though it boasts the strongest pedigree of all 2012 awards contenders, Lincoln doesn’t play like obvious Oscar bait while you’re watching it.
The film emerged from Toronto as virtually every pundit’s Best Picture frontrunner.
Undeniably rousing, but deeply irresponsible, Argo fans the flames surrounding historical events likely to still remain raw in the memory of many viewers.
Time will tell if the Academy’s newest rule adjustment will throw off the mojo of latecomers like Les Misérables.
Thematic preoccupations are what make individual filmmakers so intriguing as one steps back to examine certain artist’s entire careers.
Can Malick’s dream-like film grammar resonate when set in the modern world?
From the schoolyard to the psych ward, the bully was a cinematic staple well before becoming a hot-button news topic.
Lionsgate has done a admirable job highlighting what’s most impressive in the film: its technical aspects and design.