A Vulture hülyült kicsit, a idióta grafikonokra bontotta a jelölt filmeket.
A New Republic szerint a 12 év rabszolgaság nyer, de nem a jó indokból.
12 Years a Slave shows the real thing, made by Brits for the most part, horrible, painful, but necessary—at last. It acts on the assumption that slavery is a bigger topic than film-making, so it is not a spectacular, innovative, or “dazzling” picture. It doesn’t believe it needs to be. It seems to me that as a source of self-respect and moral gravity, it should be the favorite for Best Picture. In which case, there need not be another movie about slavery for a hundred years (though probably the subject will abide patiently).
Maybe romantic-comedy conventions just got tired. From the late ’90s to the mid-2000s, Hollywood produced dozens of romantic comedies each year, but many were outright lousy. In fact, you could argue that romantic comedies did so well for so long that they were taken for granted — hence the stretch of depressingly lobotomized movies about materialistic career women who learn that a man is more important than their Manolos. (See: Sweet Home Alabama, Sex and the City, Confessions of a Shopaholic, The Ugly Truth.) Perhaps studio executives looked at the diminishing returns on their diminishing-quality films and decided to scrap the whole genre.
Life After Pi: dokumentumfilm a Pi-t gyártó CGi cég tönkremenéséről, hiába nyerték meg az Oscart a film trükkjeiért. Kiszervezést megöli az ipart itt is.
És ide illik, hogy úgy tűnik véletlenül, de az MPAA fog segíteni az amerikai CGI cégeken, mert a nagy stúdiók védelmében úgy érveltek, hogy a kintről jövő digitális tartalmak importnak számítanak, csak azt nem vették figyelembe, hogy a CGI is import.
The need to regulate the burgeoning international trade in digital intellectual property is widely recognized by U.S. policymakers. The U.S. government has consistently recognized that international trade in digital forms of intellectual property is every bit as “real” as trade in traditional manufactured goods.
Az Atlantic úgy érzi, tudja mi kell az Oscar nyeréshez.
Unsurprisingly, the biggest correlation was being in a very serious movie. Considering 172,000 performances listed on IMDB in 20,000 movies, Rossman and co-author Nicole Esparza found that dramas were were nine times more likely to get nominations.
The second and third best predictors both had to do with the size of the competition. When there are fewer films released around awards season, the odds that any one movie gets a nomination increases. This simple principle applies, rather unfortunately, to actresses, as well. It’s an industry truism, borne out in the evidence, that women have fewer meaty roles in the types of movies likely to be nominated for an Oscar. That means any one dramatic end-of-year performance by a woman has a higher chance of earning a nomination.
Pár óra múlva folytatjuk a showval.