The book takes a subtle stylistic turn in its second half that might bear quasi-meta significance.
The Notorious Mr. Bout romanticizes rather than humanizes its rather thorny subject matter.
Like anyone who’s been covering what’s become, as the party line goes, “the closest Best Picture race in recent memory,” I’ve gone through many mental rewrites of this top-prize breakdown.
This upcoming Sunday, the collective nightmare known as awards season will be effectively over.
It’s a good thing the Best Director category didn’t go the way of Best Picture to accommodate more nominees, because this year’s campaign has only ever been a three-man race even in its most competitive stages.
If this year’s Best Actor race is all about which nominee brandishes the most compelling story, then Christian Bale faces some mighty long odds.
There’s a great line in Jules and Jim about fictions that “revel in vice to preach virtue.”
Tomorrow, the WGA will announce its 2014 award winners, and whichever scribe(s) waltz off with the Original Screenplay prize may do the same on Oscar night.
We come to it at last.
The most pleasant surprise of this awards season has been the widespread embrace of Her.
Sadly, unlike Tiny Fey and Amy Poehler, we can’t all get what we hope for.
Our ballot here will look much different from Oscar’s.
The departure of a new Martin Scorsese/Leonardo DiCaprio vehicle surely meant another equally high-profile or even several smaller-profile releases would be flocking to the date.
The film’s box office and critical successes probably mean that its nomination haul won’t end with Blanchett.
The brash, rise-and-fall stock-market satire seems to boast more comedy than the filmmaker’s typical hard-hitting drama.