Guillermo del Toro’s heart beats louder when he allows himself to play, dreaming his own dreams and respecting his heroes enough to sully them.
No Oscar category has become as big a flash point among cinephiles as the cinematography prize.
Del Toro’s book obliterates repugnant notions of "high art" and "low art," the kind of phrases often coined by people who appear to be terrified of having their snob identification card revoked on a possible technicality.
Yet another ghost story that insists there’s nothing more chilling than a woman charged with raising a child on her own.
Even though Lubezki is backed, for the first time ever, by a Best Picture nominee, he’s also almost entirely surrounded by nominees that can boast the same.
We’ve noticed a certain trend among “professional” Oscar prognosticators—first and foremost among them Dave Karger—in dealing with the question of Dreamgirls.
It would seem that this year’s cinematography nominees were picked by aliens.