Voters are, well, voting, ballots in hand, catching up with screeners and such. As already laid out earlier this week, there's plenty in the news to help curate the field in this way or that, but this is also the time for outright discovery. And you know what film is playing really, really well to voters lately? "Nightcrawler," that's what.
If you were looking for things to be shaken up a little bit in this year's Oscar race, the American Cinema Editors (ACE) offered a slight jolt Friday with the organization's 65th annual list of nominees for film editing. And if you were wondering if "Nightcrawler" might make a serious play on the circuit, well…
As the holiday season comes to a close, Paramount Pictures delivers one more gift. When the studio’s Martin Luther King Jr. biopic "Selma" opens wide on Jan. 9, the film will play for free in the town where it all started: Selma, Alabama.
The year has finally drawn to a close. They're celebrating 2015 already in some parts of the globe (I guess our troops in Afghanistan are popping champagne right about now). But before really send 2014 off into the the sunset, a last look at the best of what silver screens had to offer this year...in one guy's opinion, anyway.
As is often the case with biographical films, accuracy can become an easy target for criticism. Regardless of how changes or alterations reflect dramatic and thematic intent, and that narrative films aren't meant to be documentaries, those with a bone to pick about how history is seen through an altered lens will lash out, particularly if a film is an Oscar season threat. We've already seen it happen with "Selma," but now Bennett Miller and "Foxcatcher" are taking on fire…from one of the very people depicted in the film.
As I said a few weeks ago in spotlighting some of the most exciting cinematographers working today, I believe we're quietly going through a golden age for the form. There are some dynamic ideas making their way through the system these days thanks to exceptional artists behind the camera, and hopefully this little feature does its part in celebrating what they have to offer.
We're winding down the year-in-review game here at HitFix as 2014 draws to a close. For whatever reason I took a year off of the ballot/superlatives posts, but I'm back with those personal assessments of the best of the year, beginning today with my top picks across the Academy's 24 categories.
For this edition of the Contender Countdown we're going to approach the race for a Best Picture nomination a little differently. Now that every major contender has opened in at least limited release outside of "A Most Violent Year," we can finally review how the nation's critics have judge them on a broader, consensus basis. As Nate Silver may have realized when he tried to predict Oscar, you can't count on statistics with so many factors in play, but if presented comparably it might make you rethink the possibilities. To make this investigation work we'll use both the Rotten Tomatoes percentage score and the Metacritic grade to illuminate some very interesting data-driven discoveries.
If you thought the explosive conclusion to "Captain America: The Winter Soldier" was an elaborate physical stunt involving Chris Evans, Anthony Mackie, and three life-size hellicarriers crashing into Washington D.C. buildings, think again! Also, really? You thought that was real? I mean it looked good, but c’mon, Marvel isn’t going to build a billion dollar flying aircraft carrier and drive it into a skyscraper. You're crazy.
More than most of his contemporaries, Richard Linklater’s films are extensions of himself. For "Boyhood" and "Dazed and Confused," the writer-director yanked autobiographical from his own life and adapted them for the modern timeline. Similarly, "Waking Life" and the "Before" trilogy start with personal pondering and blossom into talky motion pictures. Linklater shot his debut feature "Slacker" around his hometown of Austin, Texas and appeared in one of the leading roles, blurring the line between fact and fiction even further. By making films that draw so closely from his own experiences, Linklater has created a web of spiritually linked films that seem to inform one another. None of them are sequels, all of them are sequels. His next film fits the bill.