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.
Most filmgoers who see Lee’s magical-realist marine life, from bioluminescent jellyfish to migrating trout that fly, will be quick to dub the film the Visual Effects frontrunner.
The film emerged from Toronto as virtually every pundit’s Best Picture frontrunner.
Does Looper have a prayer in the Visual Effects race, where tigers and hobbits and Avengers will be sprinting, neck-in-neck?
Conventional wisdom says this film would surely have the sound categories in the bag.
Time will tell if the Academy’s newest rule adjustment will throw off the mojo of latecomers like Les Misérables.
Will the Academy really go for a star-free, Sendak-esque allegory, whose rugged charms are tied to its loose lack of answers?
Few would argue against The Tree of Life being one of the very best films of the year, but it remains the biggest wild card of awards season.
Steven Spielberg’s old-school insta-contender has its own inherent, frontrunner-battling virtues to get behind.
A Best Actress nomination for Mara doesn’t seem likely, either, even with the Golden Globe nod and handful of critics’ honors she’s got under her studded belt.
Where Allen is sure to perform well is in the Best Original Screenplay category, where he’s been nominated a total of 14 times.
J.C. Chandor is able to mine potent workplace drama, and pluck tender nerves that are widespread among the current populace.
This season presents two Oscar contenders, Hugo and The Artist, that both bask in the dreaminess of cinema’s early days.
Michelle Williams quickly settles into one of the year’s best performances, and one of its purest sources of movie bliss.
The Descendants is unassumingly superb, and it’s sure to clinch a whole lot of Oscar nominations. Indeed, it’s a Clooney.
The film has limited mass appeal, and what Clint Eastwood brings this time out is more a deft shepherding of others’ talents than a showcasing of his own.
Roland Emmerich’s film is an interesting case in that it may very well be its director’s best work; however, a better director is the one thing it surely needed.
The Help represents a pitiful lack of progress, and that’s hardly an indictment of the ways its characters and events are depicted on screen.
No film this year is poised to collect more Academy Award nominations than Michel Hazanavicius’s silent movie about the silent era.
If ever there were a Brad Pitt performance worthy of awards talk, surely it’s the actor’s turn in the unexpectedly sophisticated Moneyball.