Though it boasts the strongest pedigree of all 2012 awards contenders, Lincoln doesn’t play like obvious Oscar bait while you’re watching it.
Understanding Screenwriting #98: To Rome with Love, Beasts of the Southern Wild, The Newsroom, & More
The shaggy-dog element in the fourth story in To Rome with Love is its very casual surrealism.
Michel Hazanavicius is attempting to make a silent film that will play to a talkies audience, not just silent film history buffs.
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.
A lot of pundits think Hugo’s love train through the tech categories will stall out before reaching the sound duo toward the bottom of the ballot, and that War Horse will gallop past it to win by a nose.
For the record, sound mixing is the sort of umbrella sound category, whereas sound editing represents the “special effects” angle of movie sonics.
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.
At the risk of milking a joke whose teets have been sore for weeks, The Artist’s musical score will do just fine without Kim Novak’s vote.
The boy wizard’s last hurrah still, however, has a better shot in this category than Midnight in Paris.
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.
The Artist seems likely to not only get nominated, but also win.
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.
First take a look at the 15 feature films nominated by the Art Directors Guild.
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.
Steven Spielberg’s old-school insta-contender has its own inherent, frontrunner-battling virtues to get behind.