This ought to be chapter three in a series of prediction entries no longer than the amount of time it takes the orchestra to cut off the acceptance speeches of the winners in the short film categories.
I see no reason why this entry need be any longer than Ed’s post yesterday.
Colin Firth ain’t the only one riding The King’s Speech to an “overdue” Oscar win.
It’s difficult not to be cynical about a contest that’s so easily manipulated by hype and publicity.
Now, to be clear, Inception, which makes the juggled alternate realities of Back to the Future Part II seem complicated in comparison.
We’re picking this one out of a hat, folks.
This year’s slate of contenders indicates voters are ready to see the men behind the monsters.
I was moved by Requiem for a Dream, but boy, has he ever made me regret that initial feeling of enthusiasm.
The Social Network has the best opening scene in a movie since that great montage at the start of Up.
I wonder if Zuckerburg likes Thai food.
Aaron Cutler, Kenji Fujishima, and Elise Nakhnikian share their thoughts via email about this year’s festival.
Film usually reveals itself to audiences with splices and scratches, while Eastwood has shown how DV printing and projection can look pristine.
Armond White always begins with himself and ends there too.
Just as Fincher’s films process the world through computers, we process our world through computer screens too.
The Social Network is at once a snapshot of a particular era and a universal story about trying to fit in.
You could disagree, and claim that a few pop selections help people notice the small stuff. Hopefully.