Voyage of Time is arguably the fullest expression of the cosmic themes that filmmaker Terrence Malick has explored for the last decade.
It’s not just the prosaic approach the mythically outsized hallmarks of Americana that makes A.J. Edwards’s first directorial effort feel like a Malick movie.
No Oscar category has become as big a flash point among cinephiles as the cinematography prize.
Thematic preoccupations are what make individual filmmakers so intriguing as one steps back to examine certain artist’s entire careers.
Can Malick’s dream-like film grammar resonate when set in the modern world?
How do you distinguish a movie that’s one of the greatest of all time from one of your all-time favorites?
That the Best Picture category’s “Will it be six or will it be seven?” question was settled as close to 10 as possible without actually being 10 isn’t merely a mark of how much of a mess this year’s Oscars are.
When it comes to film editing, marveling at how rhythmically one shot feeds another is hardly sufficient in predicting an Oscar winner.
I’ve seen them all. Most of them I wish I hadn’t, but such are the perils of this job.
Less a race than a ping-pong match, this year’s battle for Best Director has shifted favor from an obvious lock to a popular spoiler and back again.
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.
It shouldn’t come as a surprise to anyone who truly understands how the Oscars work that the still above isn’t from Asghar Farhadi’s A Separation.
The most delightfully animated feature in this bunch, Kung Fu Panda 2 is still at best a slab of warmed-over holiday seconds.
Let’s keep the voting blather to a minimum and focus on what seem to be the most pivotal factors in this year’s top race.
The directing race has boiled down to nine names, four of which you can pretty safely etch into stone.
Which performance will land Jessica Chastain her first Oscar nomination?
Since The Artist’s ubiquity is even growing tedious for those who kneel at its grayscale altar, let’s just stick to the facts.
The Academy rarely passes up the chance to gush over black-and-white lensing.
The biggest hurdle for Malick’s answer to 2001 may be the demonstrable fact that this category favors movies with titles longer than your average James Joyce sentence.
Few would argue against The Tree of Life being one of the very best films of the year, but it remains the biggest wild card of awards season.