<p>Michael Douglas at the 2013 Primetime Emmy Awards</p>

Michael Douglas at the 2013 Primetime Emmy Awards

Credit: Jordan Strauss/Invision/AP

Emmys: David Fincher and Michael Douglas headline movie vet winners

Steven Soderbergh, Jeff Daniels and James Cromwell also picked up prizes

It was a big night for prestige film personalities in front of and behind the camera at the Emmys tonight. Most notable was "House of Cards" and "Behind the Candelabra" directors David Fincher and Steven Soderbergh walking away with wins for TV Drama and TV Movie or Miniseries respectively.

In the case of Soderbergh, he joins rare air with names like Martin Scorsese, Bob Fosse and Michael Moore as one of only a handful of helmers to scoop up an Emmy, an Oscar (for 2000's "Traffic") and the Cannes Palme d'Or (for 1989's "sex, lies and videotape"). In the case of Mr. Fincher, well, I'm sure he'll get his fill of "He doesn't have an Oscar but he has an Emmy!" headlines tomorrow morning.

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<p>Chris&nbsp;Hemsworth and Daniel Br&uuml;hl in &quot;Rush&quot;</p>

Chris Hemsworth and Daniel Brühl in "Rush"

Credit: Universal Pictures

Tell us what you thought of 'Rush'

Ron Howard's Formula 1 biopic opens this weekend

I was late catching up with Ron Howard's "Rush," having missed various press screenings while I was in Venice. So maybe my expectations had been unduly raised by the numerous rave reviews -- including our colleague Drew McWeeny's -- that came out of Toronto. But I found the racing biopic, which details the rivalry between 1970s Formula 1 titans Niki Lauda and James Hunt, rather flat and uninvolving, its two mostly unpleasant protagonists burdened with a blunt script from Peter Morgan that hammers home its 'driving=life' metaphors for all they're worth. Howard directs proficiently in a latter-day Eastwood sort of way, without betraying much affinity for, or investment in, the source material. On the plus side, it's a handsome production, lifted by the vivid cigarette-box palette of Anthony Dod Mantle's sleek cinematography. And while's it's Daniel Brühl's Lauda who gets the angst and the makeup and the Oscar buzz, I was particularly taken with Chris Hemsworth's suave, switched-on performance as the more smooth-operating Hunt. Anyway, that's enough from me -- what did you think? Share your thoughts in the comments, and vote in the poll below.

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<p>Jake Gyllenhaal in &quot;Prisoners&quot;</p>

Jake Gyllenhaal in "Prisoners"

Credit: Warner Bros.

Tell us what you thought of 'Prisoners'

Denis Villeneuve's studio thriller hits theaters this weekend

A pair of movies are hitting theaters this weekend that mark a distinct transition from summer entertainments to fall adult drama programming. One is "Rush." The other is Denis Villenueve's "Prisoners," a tense piece of work that I called a "tense bow of tension drawn impossibly tight" out of Telluride. I don't see it as awards caliber material, though Hugh Jackman gives a terrific performance, it makes some brave choices for a studio thriller and I have respect for Villeneuve's craft. This site seemed to find that piece bewildering in its vacillation, and really, that's kind of this movie in a nutshell to me. So it fits. (And yes, Virginia, that's a site dedicated to reviewing reviews.) So with that, let's just turn it over to you. When and if you get around to "Prisoners" this weekend, tell us your thoughts in the comments section and feel free to vote in our poll below.

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<p>Kevin&nbsp;Costner and&nbsp;Donald&nbsp;Sutherland in&nbsp;&quot;JFK&quot;</p>

Kevin Costner and Donald Sutherland in "JFK"

Credit: Warner Bros.

Oliver Stone's 'JFK' to be re-released on 50th anniversary of Kennedy assassination

Here's your chance to see a masterpiece on the big screen

Oliver Stone's "JFK" is a masterpiece. I say that unequivocally. It's masterful filmmaking of a degree few could ever hope to reach, but it's been consistently plagued and overshadowed by the whiff of conspiracy fatigue ever since its 1991 release.

This has always been strange to me. Nothing presented in the film is all that far-fetched, and depending on your opinion of Dallas journalist Jim Marrs, it was all perfectly well-reported before Stone and screenwriter Zachary Sklar came along. Meanwhile, there has been a curiously strong push lately, it seems, to ensure once-and-for-all acceptance of the lone gunman theory, which, I'm sorry, if you've ever stood in the book depository and seen that vantage point (relative, as the actual window itself is blocked off), then you know the shot was pretty tough to pull off. And "back and to the left" seems pretty significant to me.

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<p>&quot;Heli&quot;</p>

"Heli"

Credit: Le Pacte

Mexico's 'Heli,' Poland's 'Walesa' among latest foreign Oscar entries

Switzerland, the Philippines and the UK also join the race

National submissions continue to trickle in for the Best Foreign Language Film Oscar race, with the tally currently sitting at 37 entries. That's a competitive number already, though when you consider that last year's longlist contained nearly double that number of films, you realize just how much more crowded things are going to get before the deadline for entries -- only 10 days away. Among the countries we're waiting to hear from are such previous nominees (some of them with heavyweight possibilities this year) as Denmark, Israel, Italy, Canada, Iran and China. So the list of predicted nominees to your right, strong as it is, could change a lot in the coming weeks.

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Oscar Talk: Venice/Telluride/Toronto wrap

Oscar Talk: Venice/Telluride/Toronto wrap

Did the media paint a bull's-eye on the back of a frontrunner?

Welcome to Oscar Talk.

In case you're new to the site and/or the podcast, Oscar Talk is your one-stop awards chat shop between yours truly and Anne Thompson of Thompson on Hollywood. The podcast is broadcast in special installments throughout the season, charting the ups and downs of contenders along the way. Plenty of things change en route to Oscar's stage and we're here to address it all as it unfolds.

On the docket today…

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<p>A scene from John Singleton's 1991 film &quot;Boyz N the Hood.&quot;</p>

A scene from John Singleton's 1991 film "Boyz N the Hood."

Credit: Sony Pictures

Roundup: John Singleton on who should (and shouldn't) direct black-themed cinema

Also: And the winner is... In Contention

"Can a white director make a great black movie?" It's the kind of question that bothers me -- you can extend it to asking whether a male director can make a great film about women, or whether a straight director can make a great film about homosexuality. (This year, Abdellatif Kechiche answered both those questions in the affirmative.) Great storytelling requires more empathy than first-hand experience. Still, John Singleton (the first black filmmaker ever nominated for a Best Director Oscar) looks at such recent films as "Fruitvale Station," "The Butler" and "12 Years a Slave" -- all by black directors, though not all by African-Americans -- argues that  "there is a noticeable difference between pictures that have significant contributions from African-Americans behind the scenes and those that don't." He adds "what Hollywood execs need to realize is that black-themed stories appeal to the mainstream because they are uniquely American" -- which, well, let's just say I can't see everyone agreeing on that point. [Hollywood Reporter]    

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All-time greatest actors turned directors: Woody Allen, Sarah Polley, Clint Eastwood

All-time greatest actors turned directors: Woody Allen, Sarah Polley, Clint Eastwood

Guess who didn't make the list

The longstanding cliche about Hollywood screenwriters is they're really dying to tell anyone who will listen, "but I really want to direct." Turns out some of the actors in front of the camera wouldn't mind ruling the roost either.

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<p>Cate Blanchett at this week's UK premiere of &quot;Blue Jasmine.&quot;</p>

Cate Blanchett at this week's UK premiere of "Blue Jasmine."

Credit: AP Photo/Joel Ryan

Cate Blanchett to make her directorial debut with 'The Dinner'

Oren Moverman will write the new adaptation of Herman Koch's bestseller

Cate Blanchett's superb, sure-to-be-Oscar-nominated performance in Woody Allen's "Blue Jasmine" this summer marked a return of sorts to the big screen. She never went away, exactly, but her recent, sparse run of secondary and supporting roles (in the likes of "Hanna" and "Robin Hood") was a clear indication that the bulk of her attention was elsewhere -- at the Sydney Theater Company, to be precise, where she has acted as an artistic director for the last five years.  

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<p>Lea Seydoux and Adele Exarchopoulos in &quot;Blue is the Warmest Color.&quot;</p>

Lea Seydoux and Adele Exarchopoulos in "Blue is the Warmest Color."

Credit: Sundance Selects

Palme d'Or winner 'Blue is the Warmest Color' gets a US trailer

The French romantic drama opens on October 25

It's been four months since I saw Abdellatif Kechiche's "Blue is the Warmest Color" at Cannes -- whereupon it became, as it did for an awful lot of people, my favorite film of the festival. (Steven Spielberg's jury, of course, agreed.) The film's been burning pretty brightly in my mind ever since, but this expertly constructed US trailer brought that much more of it flooding back. Sundance Selects are taking a smart approach here, selling the film on evocative fragments of sound and image, and allowing viewers to find its raw emotional and physicals details for themselves.

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