There's comfort in watching Oscar winners shake off the respect and responsibility of prestige drama to cut loose in genre screamfests. A pressure builds around post-win Best Actors and Best Actresses, a tall order to find projects worthy of their new stature. As history tells us, following your "Monster's Ball" moment with "Catwoman" can be the beginning of the end. But dabbling in cinematic camp isn't the same as accidentally starring in a ill-fated disaster. Nicole Kidman is the queen of high/low-art balance, giving her ridiculous new thriller "Before I Go to Sleep" a kind of cred that isn't born from "Academy Award winner…."
With "Gone Girl" in theaters, your ears are being treated to yet another untraditional feat of film music composition from Trent Reznor and Atticus Ross. It's their third collaboration with director David Fincher, and maybe their most intriguing. We talked to Reznor recently and hope to go even deeper on the work later in the season, but for now, let's consider the tradition his and Ross' contribution joins.
Filmmaker Mike Leigh has been wanting to make a biopic about English Romantic painter J.M.W. Turner for a long time now, and there was surely no other choice for cinematographer than his longtime collaborator Dick Pope. The two have excelled at a breed of tableau filmmaking that can feel at once antiquated and invigorating. There are single frames from "Another Year" and "Vera Drake," among others, that arrest me still. But for "Mr. Turner," it was absolutely essential.
It seems like we say it just about every year at this point, so let's say it again: the Best Actor category this season appears to be the most competitive race to date. Pity, then, that it's clearly one of the least racially diverse races we've seen yet, with minorities few and far between.
Why isn't Julia Louis-Dreyfus in more movies?
Yes, there are likely personal and professional reasons that keep one of the funniest ladies in Hollywood away from the big screen, but allow us to throw up our arms and demand more. Louis-Dreyfus has dominated television since the '80s (revisit her "Saturday Night Live" work and prepare to go bananas), "Seinfeld" making her a household name and providing a curse that only she could break. The success of "The New Adventures of Old Christine" and "Veep" rests entirely on Louis-Dreyfus shoulders. Maybe the weekly format provides a comfort, maybe Hollywood just isn't writing roles for funny women (that's not really a maybe, but let's not digress), but we're tired of the small screen having all the Julia Louis-Dreyfus fun. Her latest accolade only rubs it in.
NEW YORK — Trent Reznor might still be slightly uncomfortable with this whole movie composer thing. Even after earning an Academy Award and a Grammy Award with Atticus Ross for their "Social Network" and "Girl With The Dragon Tattoo" scores, respectively, it's clear this was not a career path he imagined transitioning into. The 49-year-old musician best known as the face of the industrial rock band Nine Inch Nails has David Fincher to thank for this unexpected bounty and now Reznor and Ross have re-teamed with the iconic director for his latest critically acclaimed thriller, "Gone Girl."
A year ago the Oscar race was getting pretty stacked and something — a few things, really — had to give. Bennett Miller's hugely anticipated "Foxcatcher" was all set for an AFI Fest world premiere and then, suddenly, it was yanked from the 2013 schedule. Now, a year later, it's no real surprise that Sony Classics has gone back to the Hollywood event and made good on the I.O.U. The film will close out the festival on Thursday, Nov. 13.
Why don't we talk about Steven Spielberg's "Munich" more? Flipping his sentimentalist reputation the bird, the docudramatized look inside Mossad's covert retaliation against the Palestine Liberation Organization is unmercifully tense and morally complicated to the point of inducing anxiety attacks. "Munich" is weaponized blockbuster filmmaking — and it sounds like Spielberg's antsy to return to the style.
No, "The Blair Witch Project" was not an Academy Award-winning film. But it absolutely qualifies for the Academy's "Moments That Changed The Movies" series. A new video from the Academy Originals banner looks back at the 1999 horror film, which took Sundance by storm and became one of the most profitable cinematic endeavors of all time, on the occasion of its 15th anniversary.
Between Dan Gilroy's "Nightcrawler" and Paul Thomas Anderson's "Inherent Vice," you're going to be seeing a lot of Oscar-winning cinematographer Robert Elswit's work this year. Not only that, but you're going to be seeing a lot of Los Angeles location work in these films that showcases areas and eras of the city unique to the silver screen.