Voyage of Time acknowledges that Terrence Malick’s fussy editing can only suggest meanings to that which will outlive anyone’s interpretation.
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.
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, dubbed by so many as “the invisible art,” marveling at how rhythmically one shot feeds another is hardly sufficient in predicting an Oscar winner.
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.
The directing race has boiled down to nine names, four of which you can pretty safely etch into stone.
Since The Artist’s ubiquity is even growing tedious for those who kneel at its grayscale altar, let’s just stick to the facts.