The Hobbit: Battle of the Five Armies
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The Nominees: Reaction to the Golden Globes Nominations

The Theory of Everything

“We are honored to receive this Golden Globe nomination from the Hollywood Foreign Press Association for Big Hero 6! We share this nomination with our incredibly talented team who worked tirelessly to bring this beautiful film to the screen.  We can’t wait to give them a big Baymax fist bump!” – Don Hall & Chris…

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Gurus o’ Gold(-n-Globes)

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The Gurus pay tribute to The Golden Globe nominations (due Thursday morning), but projecting the Picture, Actor & Actress races. And of course, this week’s update on Oscar’s Best Picture race.

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“‘Gone Girl’ Is The Oscar Contender Hollywood Needs, Audiences Deserve”

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The Overnighters’ Director And Subject On The Doc’s Moral Complexity

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20 Weeks To Oscar: Box Office

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Introducing The Babadook’s Jennifer Kent

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Gurus o’ Gold: The Rise of Selma

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20 Weeks To Oscar: The Trouble With Biopics

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Gurus o’ Gold: Thanksgiving Week

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Gurus o’ Gold: A Week From Thanksgiving, aka Screener Time

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20 Weeks To Oscar – The Ides Of November

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Gurus o Gold: Just After Selma & American Sniper

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Foxcatcher’s Bennett Miller On America’s Quest For Father Figures

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Emanuel Lubezki Goes Behind The Birdman Scenes With Prize Pics

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Does Birdman Know Oscar’s Long Love For Cinema About Greasepaint?

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Kevin Lincoln On “Edward Norton’s Abandoned Movie Stardom”

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Tim Gray Thinks Oscar Ought To Think Frisky Instead Of Glum

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Kindly J. K. Simmons On Bringing The Amperage In Whiplash

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Kyle Buchanan Channels Fury

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Joshua Rothman on “What Gone Girl is Really About”

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Gurus
20 Weeks to Oscar

“It’s insane to be in the middle of the storm, because in a way, it’s exactly what the ego needs, to be reading about how stupid you were or how great you are, and that’s useless. In a way it’s dangerous.”
Iñárritu Is Keeping Busy During Awards Season

NY Times

“It’s not really all about money. Some of it is about allowing our imaginations—and giving ourselves permission—to go outside.”
An Exuberant Manohla Dargis Profile Of Ava DuVernay And Her Selma

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The Hobbit: Battle of the Five Armies

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“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire