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by Matt Mazur

9 Jan 2013

Oscar’s Nominees:

Joan Allen ... The Crucible

Fine nominee who was gifted with a great role that was slightly underplayed. The Crucible had many facets that were overlooked—such as the impeccable production and costume design, as well as the the volcanic lead performances of Daniel Day Lewis and Winona Ryder—so that Allen’s supportive wife was the element singled out is a tad baffling. Even more baffling is how Allen would fail to get Academy recognition for her far superior work in The Ice Storm (1997), Pleasantville (1998), The Upside of Anger (2005) in relatively less-competitive years than 1996.

by Austin Dale

8 Jan 2013

I’m sure every talented artisan in the technical categories was relieved when Baz Luhrmann’s The Great Gatsby was pushed back to Summer 2013, because if the glorious new trailer is anything to go by, it will score in every single technical category. Since, these categories have opened up, we have a very interesting year. Even though the Oscar nominations haven’t been announced yet, here are our Technical Category predictions.

by Jose Solis

8 Jan 2013

Django Unchained is fantastic. There is simply no denying that but while some of Quentin Tarantino’s movies sometimes take their time to win their audience, this one truly begins with a bang as we meet Dr. King Schultz (Christoph Waltz). The German doctor travels all by himself in the middle of the night, his horse Fritz bows ceremoniously as his owner introduces himself to a group of slave drivers and their slaves. Within the next three minutes Schultz meets Django (Jamie Foxx) and the film’s plot is set in motion. It never lets you go after that.

by Ben Travers

7 Jan 2013

The time has come to put forth my final predictions for Best Picture, and never has a task been more daunting. With so many films making late surges (Skyfall on the Producers Guild List? Salmon Fishing in the Yemen with three Golden Globe nods?) and the Academy rules allowing for up to 10 nominees, there are more movies with a legitimate shot at a nomination than ever before.

I’d like to put The Impossible in the mix having seen and adored it recently, but a respected colleague pointed out there isn’t much buzz out there for it. The Sessions seems to have similarly dropped off voters’ radar. It hasn’t won enough precursor awards to be seen as a legitimate contender. And we all know what happened to The Hobbit.

So who’s got the best odds? Who will hear their name called on January 10? And who will wake up to an alarm instead of a congratulatory phone call? Let’s dig in.

by Austin Dale

7 Jan 2013

Nicole Kidman is in the Oscar race now, though for the life of me, I can’t figure out how it happened. The Paperboy is an incredible, unmissable film, but not because of its style, technique, or narrative finesse. It is sorely lacking in all these departments. The Paperboy is essential cinema because of its gratuitous, dirty content, which is unthinkably unique and, in a certain sense, brave. Its emotions are heightened, perpetually climaxing in sexual tension, but this isn’t the kind of erotic power we saw between Jane Wyman and Rock Hudson, or any other movie star couple we’ve seen. The content in The Paperboy is uncomfortable and - for lack of a better term - gross, and I never expected that awards voters would be inclined to reward its joyful brand of raunch.

//Mixed media

NYFF 2017: 'Mudbound'

// Notes from the Road

"Dee Rees’ churning and melodramatic epic follows two families in 1940s Mississippi, one black and one white, and the wars they fight abroad and at home.

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