In 2010, we asked, “How do you solve a problem like Avatar? How do you hold a fluorescent, floating anemone in your hand?”
Time will tell if the Academy’s newest rule adjustment will throw off the mojo of latecomers like Les Misérables, but it’s sure to benefit a movie like The Master.
Is it just us or can the Academy’s infatuation with The Artist be felt even in categories where the film isn’t nominated?
Though we’ve kicked EW’s Dave Karger’s teeth in when it comes to the overall number of correct predictions for the last few years, our track record has unfortunately not extended to the Best Picture category.
Beach House’s self-titled debut seemed fully formed: nine songs virtually indistinguishable on first listen, relying on a command of minimal instrumentation and slow tempos.
I don’t mean to speak for Ed here, but this wouldn’t be the first time we’ve started pulling back and rethinking the momentum of our day-by-day Oscar-winner forecasts.
We’ll give Fisk and Erickson an edge here, not only for having won the ADG award in the period category but for representing one of this year’s Oscar frontrunners.
Not every tech category where No Country for Old Men and There Will Be Blood are facing off will settle in either of their favor.
If we learned anything last year, it’s that the more independent-minded the nominations, the more disappointing and reactionary the likely winner.
Prior to the Oscar season, one award you could say Atonement had a firm grip on without sounding like a chronic masturbator.
The idea for this podcast was hatched after Vadim, John, and Keith Uhlich met at a screening of There Will Be Blood.
Suddenly, the Oscar race is being headlined by a pair of uncompromising, boldly conceived pieces of formalism.
A landmark year for me as well as for the movies.