In the absence of a de facto Best Picture frontrunner, the Oscar here usually goes to the slickest contender.
This year’s crop of Original Score nominees hits all the markers that we’ve come to expect.
The Killers new single was produced by M83’s Anthony Gonzalez.
If The Social Network didn’t make you want to quit Facebook in 2010, the brave new world outlined here should, despite the fact that your data won’t actually be erased.
Raoul Peck’s Fatal Assistance, on the other hand, holds an appropriately cynical attitude toward spectacle.
It’s hard not to interpret the track as a reaction to Trent Reznor’s detour into Tinsel Town.
Typically, there’s at least one Oscar-nominated score that stands out as unique, with memorable flourishes that push it ahead as the frontrunner.
When it comes to film editing, marveling at how rhythmically one shot feeds another is hardly sufficient in predicting an Oscar winner.
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.
Since The Artist’s ubiquity is even growing tedious for those who kneel at its grayscale altar, let’s just stick to the facts.
Thanks to Hollywood’s juiciest female role, she’s been fiercely groomed for superstardom and hurled into the popular conversation.
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.
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.
Moneyball confronts co-writer Aaron Sorkin with a milieu in which he has trouble being putatively witty.
This is a complete list of our predicted winners at the 2011 Academy Awards.
The ascendance of the stuttering king and Oscar’s perceived instantaneous regression into the mottled pastures of White Elephant Cinema has rendered some of our most reliable barometers speechless.
Six. That’s the number of times the DGA winner has failed to win the Oscar. Advantage: Tom Hooper. Two thousand and three.
We’ve been forced to play things a little more conservatively than we would like.
Conventional wisdom says that one film wins both sound awards only about half the time.
The first wave of guilds—directors, producers, and actors—all supplicated down on their knees for The King’s Speech.