There’s an engimatic quality to the role of Nolan in the current filmmaking landscape.
Neither the artificial screen glare nor actress Viva Seifert’s performance lend credibility to the game’s lady-psychopath clichés.
Another opening-night gala screening, another crapshoot.
The first wave of guilds—directors, producers, and actors—all supplicated down on their knees for The King’s Speech.
As Nolan’s career has progressed, he’s lost sight of how to make those moments feel organic.
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.
What rankles me the most is the received wisdom that somehow Flags of Our Fathers has too broad of a canvas for Eastwood and thus is outside his particular wheelhouse.