Okay, so audiences still aren’t ready for De Palma’s operatic visual sensibilities, but surely critics must be on board by now, right?
If 2004’s Catwoman expressed anything, it wasn’t female empowerment, but the empowerment Halle Berry felt after winning her historic Oscar three years prior.
With its Oscar clout and inevitable crowd-pleasing matched by widespread critical ire, Les Misérables is easily the year’s most divisive awards contender.
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.
Ben Affleck’s film emerged from Toronto as virtually every pundit’s Best Picture frontrunner, its grand reception topping off a heap of baity ingredients.
Kael’s essential asexuality—she basically gave up on romantic relationships early in her adulthood after a number of ambiguous flings with mostly gay men—is also gracefully, unobtrusively elaborated upon with Kellow’s characteristic finesse and good taste.