The Golden Globes kick off the Awards Season frenzy.
'Amour' owes its existence to an industry under siege
Michael Haneke is a paragon of the benefits of a generous state-funded film industry.
I’d like to thank the Academy for nothing
The novel he'd written had become a movie that was nominated for an Oscar. But that didn't mean he'd have an open ticket to the party.
How the Animation Giant Stole Pixar's Mojo
How the animation giant stole Pixar's mojo.
“The Artist” was the favorite at last night’s Academy Awards: In addition to winning the Oscar for Best Picture (the only silent film to win since the ceremony’s very first year), the movie also snagged the awards for Best Director and Best Actor. But even though it was the favorite among the Academy types, “The Artist” is probably unfamiliar to many moviegoers: It didn’t even come close to being a top-grossing film last year.
Leave it to the Oscars to frustrate me even when they’re properly awarded. On Friday, I loudly declared my belief in inavataribility, arguing that, given the Academy's lifelong emphasis on movies' commercial success, there was no way it would give Best Picture to a $12.6 million-grossing indie (The Hurt Locker) over a well-reviewed juggernaut that made 50 times as much (Avatar). On Sunday, it gave Best Picture to a $12.6 million-grossing, etc., etc. How did this act of cinematic sanity come about?
To describe Roman Polanski's film The Pianist in less than superlatives might get one branded obtuse or hard-hearted. "A powerfully meticulous epic," extolled Richard Corliss in Time. "A remarkable story, handled with an expert lack of sentimentality," the New Statesman's Philip Kerr agreed.