Brode structures the book into two parts, one dealing with politics, the other religion.
Time will tell if the Academy’s newest rule adjustment will throw off the mojo of latecomers like Les Misérables.
It’s probably not a good sign that the poster for Oliver Stone’s Savages makes a perfect column subject for Easter Sunday.
The Mackendrick film’s plot and imagery both rely on the timely, English steam trains that always seem to be within earshot of the action.
Conventional wisdom says that one film wins both sound awards only about half the time.
As Mattie might say, in her almost biblical sense of wisdom, an eye for an eye, no pun intended.
What is life but a string of silly exercises?
I’m not sure how Mulholland Drive would look to me now that this decade is ending.
This is the inaugural installment of a new feature compiling links to reviews of new and recent theatrical films playing in North America.
Though we’ve kicked EW’s Dave Karger’s teeth in when it comes to the overall number of correct predictions for the last few years, our track record has unfortunately not extended to the Best Picture category.
Susan Sontag was correct when she argued against excessive interpretation of artistic work.
I don’t mean to speak for Ed here, but this wouldn’t be the first time we’ve started pulling back and rethinking the momentum of our day-by-day Oscar-winner forecasts.
In all the hubbub about Kevin O’Connell’s 20th nomination, no one has brought up the fact that the sound mixer’s co-nominee for Transformers, Greg P. Russell, has 12 winless nominations under his belt as well.
Not every tech category where No Country for Old Men and There Will Be Blood are facing off will settle in either of their favor.
If we learned anything last year, it’s that the more independent-minded the nominations, the more disappointing and reactionary the likely winner.
Prior to the Oscar season, one award you could say Atonement had a firm grip on without sounding like a chronic masturbator.
The idea for this podcast was hatched after Vadim, John, and Keith Uhlich met at a screening of There Will Be Blood.
One thing no one could have told you a year ago was that not one, but two darlings of the critical establishment would be frontrunners here.
Suddenly, the Oscar race is being headlined by a pair of uncompromising, boldly conceived pieces of formalism.
The Coens’ narrations often hint at, but rarely confirm, the existence of deliberate, supernatural forces.