A film about history that avoids it entirely. Not out of cowardice or lack of nerve, but because the head-on acknowledgement of Europe’s long 20th century is quite simply too painful.
Wes Anderson has become a master of the fetching teaser poster.
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.
Starting tomorrow, check back daily as we predict the winner in every Oscar category.
We’re sensing that, once again, Best Picture will fall just shy of 10 nominees.
The one certainty of this year’s Original Screenplay field is a bit of 2010 déjà vu.
American Animal’s poster, like the film, finds common ground between the high- and lowbrow, the artful and the infantile.
See below for a list of the films that just missed making it onto our list of the best films of 2012, followed by our contributors’ individual ballots.
There seems no reason why the film’s Art Direction, Set Decoration, and Production Design can’t compete right along with this year’s showy heavy-hitters.
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 film is an intensification of the rigorous aesthetic preoccupations and occasionally precious thematic concerns that have long marked Anderson’s films.
The Avengers will assemble for what may be the most overstuffed tent-pole ever, and Katy Perry will unleash the first movie that could actually give you cavities.
Wes Anderson seems to have taken a page from Todd Solonz’s book, and it’s hard to imagine more beautiful results.