That the Best Picture category’s “Will it be six or will it be seven?” question was settled as close to 10 as possible without actually being 10 isn’t merely a mark of how much of a mess this year’s Oscars are.
When it comes to film editing, marveling at how rhythmically one shot feeds another is hardly sufficient in predicting an Oscar winner.
Conventional wisdom suggested that adaptations of the biggest bestsellers would make up much of this year’s shortlist.
A lot of pundits think Hugo’s love train through the tech categories will stall out before reaching the sound duo toward the bottom of the ballot, and that War Horse will gallop past it to win by a nose.
If some of those prophets who called the nomination for Demián Bichir still see something we don’t, then the whispering buzz that the actor is poised to pull the ultimate upset could indeed be true.
For the record, sound mixing is the sort of umbrella sound category, whereas sound editing represents the “special effects” angle of movie sonics.
Christopher Plummer has earned this year’s “It’s time” with absolutely no resistance.
Let’s keep the voting blather to a minimum and focus on what seem to be the most pivotal factors in this year’s top race.
Michael Fassbender appeared in almost as many movies this year as Oldman has throughout his career.
It’s both unfair and too easy to shake out predictions for this category based on what is most likely to appeal to the Kindle Fire set.
Stoking one’s cynicism over this category is the very real probability that Jonah Hill will be an Oscar nominee.
Since The Artist’s ubiquity is even growing tedious for those who kneel at its grayscale altar, let’s just stick to the facts.
And you thought baseball was a slo-o-o-ow game.
If ever there were a Brad Pitt performance worthy of awards talk, surely it’s the actor’s turn in the unexpectedly sophisticated Moneyball.
Moneyball confronts co-writer Aaron Sorkin with a milieu in which he has trouble being putatively witty.