The Academy has unveiled the shortlist of eight contenders for this year's Best Documentary Short Subject race. Voters from the organization's Documentary Branch viewed 58 eligible entries and squeezed it all down to this field from which five will be nominated for Oscar.
Cling. Clang. Crash. Welcome to the category of Best Sound Editing, which awards the creation and integration of artificial sounds into a movie's soundtrack. This distinguishes this category from Best Sound Mixing, which awards the mixing of the film's overall soundtrack.
AFI Fest has announced that Tommy Lee Jones' "The Homesman" will screen as a Centerpiece Gala selection as well as eight Special Screenings and programs for the festival's Conversations series, which will include a look at the upcoming release, "Unbroken," with cinematographer Roger Deakins.
With only a few weeks left before Walt Disney Animation’s Marvel Comics adaptation “Big Hero 6” hits theaters, the studio has added another feature to its pipeline. The Mouse House revealed plans Monday for “Moana,” a CG-animated comedy-adventure about “a spirited teenager on an impossible mission to fulfill her ancestors' quest.”
Billy Boyd’s performance of “Edge of Night” in “Return of the King” is among the most stirring sequences in Peter Jackson’s original “Lord of the Rings” trilogy. After Denethor (John Noble) requests a ditty, Boyd’s Pippin serenades the king’s court with the memorable, falsetto ballad. Adapted by screenwriter Philippa Boyens from J.R.R. Tolkien’s poem, “A Walking Song,” and scored by composer Howard Shore, Jackson juxtaposes the haunting melody with shots of Faramir (David Wenham) battling over Osgiliath. “Return of the King” won 11 Oscars at the 2004 Academy Awards, “Edge of Night” didn’t earn any love — Best Song honors that year went to another “Lord of the Rings” tune: Annie Lennox’s “Into the West.”
Let's start with a broad assessment that may or may not be true, but can be taken as close enough for the purposes of this column: there are four Best Actor slots spoken for. What are they? Steve Carell in "Foxcatcher," Benedict Cumberbatch in "The Imitation Game," Michael Keaton in "Birdman" and Eddie Redmayne in "The Theory of Everything." Only one of those films, mind you, has opened and screened for the Academy ("Birdman"). But if I were a betting man, I'd say that quartet is secure. So who slides in besides?
BEVERLY HILLS — Fox Searchlight's "Birdman" flew into limited release this weekend with a fantastic $103,750-per-screen average and plenty of Oscar potential. This comes on the heels of a New York press blitz built around a closing night New York Film Festival berth for the film and with the expectation for limited availability from the ensemble and key crew members during the upcoming awards season (and in lieu of a proper Los Angeles premiere, to boot). At the film's official Academy screening Sunday afternoon, Alejandro González Iñárritu's thematically rich, formally inventive opus drew a sizable turnout (800 or so people in the 1,000-seat venue) and a warm reception that seemed to indicate this one will do well with voters.
"Birdman" flies into theaters this weekend, and with it comes one of the year's most finely tuned and vibrant ensembles. Indeed, as wonderful as Michael Keaton is in the leading role, and as much as actors like Edward Norton and Emma Stone stand out on the periphery, one of the unsung stories of the film is how well the cast jumped through the hoops of production, turning out an incredibly organic community performance.
David Ayer's World War II actioner "Fury" with Brad Pitt, Logan Lerman and Shia LaBeouf has arrived in theaters nationwide. The film enters the awards season without bothering with a festival bow (aside from this weekend's post-release closing night London Film Festival slot). It might be an Oscar contender at the end of the day, it might not, but surely Sony is mostly concerned with finding some box office capital before worrying too much about that.