The Liberator is upfront about lensing the world psychologically through Simón Bolívar’s eyes.
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.
So, Contagion is the reigning champion—at least, until Alfonso Cuarón’s Gravity opens in IMAX 3D this Friday, the first AHB to open in the two-plus years since.
This is my alphabetically arranged list of what I think are world-historically worthwhile films produced after 1986, the year of my birth.
Even though Lubezki is backed, for the first time ever, by a Best Picture nominee, he’s also almost entirely surrounded by nominees that can boast the same.
And the prize for most ironic title at the New York Film Festival goes to…My Joy.
What is life but a string of silly exercises?
Because Oscar history tells us that the winner of this award aligns often with the winner of the top prize, we were hoping for ACE to shed some light on what may be the tightest best picture race ever.
It would seem that this year’s cinematography nominees were picked by aliens.
With The Departed, William Monahan turned what was, in Infernal Affairs, a smart concept given a terminally vague execution into a high-concept vehicle fit for mass consumption.
We just came through a pretty tumultuous year for movies, and for the media and the entertainment industry in general.
The Oscar nominations were announced this morning by AMPAS president Sid Ganis and actress Salma Hayek.
The problem with Children of Men is that it’s too much of a performance and not enough of a movie.
Cuarón’s virtuostic vision is laced with magical-realist touches and reflective of the constant flux that is the bane of so many refugee and immigrant lives.