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.
It 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.