4 items from 2016
Pixar’s “Inside Out” cleaned up at the 43rd Annual Annie Awards on Saturday in Los Angeles, claiming the top prize of best animated feature, best director for Pete Docter and best voice acting for Phyllis Smith, among others. The Oscar-nominated film won 10 awards overall, sweeping almost all the animated-feature categories. The only category in which it was beaten was Animated Effects in an Animated Production, which went to its fellow Pixar film “The Good Dinosaur.” The 10 Annies tied the record shared by a number of films, including Pixar’s “The Incredibles” and DreamWorks Animation’s “How to Train Your Dragon” and “Kung. »
- Matt Donnelly
Our countdown of the 100 best films of the 21st century continues. This is Part 3 #50 through 26.
Click here for Part 1 (#100 - 76)!
Click here for Part 2 (#75-51)!
The first decade and a half of the 21st century has brought a lot of changes to the landscape of film. The advancement and sophistication of computers has made realistic computer generated effects a mainstay in both big-budget and small-budget films. The internet and streaming technologies have given big Hollywood new competition in films produced independently and by non-traditional means. We went from purchasing films on yards of tape to plastic disks, and now we can simply upload them to the cloud. Advertisements for films have reached a higher, more ruthless level where generating hype through trailers and teasers is crucial for a film’s commercial success. Movie attendance has fluctuated along with the economy, but that hasn’t stopped films from breaking box office records, »
- firstname.lastname@example.org (G.S. Perno)
Thursday morning’s Oscar nominations for Best Animated Film skewed heavily towards the independents, the international and the quirky. Disney-Pixar’s much-heralded “Inside Out” scored a nomination but the company’s second film, “The Good Dinosaur” was shut out along with Fox’s “The Peanuts Movie” and Universal’s blockbuster “Minions.”
Though it might seem like a foregone conclusion that a Pixar film will triumph yet again at the Oscars, just being nominated, as they say, is an honor for several lesser-known titles.
Paramount’s offbeat stop-motion drama “Anomalisa,” directed by received a nod, along with Lionsgate’s “Shaun the Sheep Movie” and a pair of dramas distributed by GKids — innovative Brazilian story “Boy and the World” and “When Marnie Was There” from Studio Ghibli. »
- Dave McNary
Far be it from me to disagree with our staff, but I would hard-pressed to name 30 films from 2015 that I would consider among the “best” of the year.
The same can’t be said for film music, though. As predictable as each superhero template or franchise reboot may have been this year, composers keep finding new ways to reinvent the sounds of the cinema. Not to mention that the ever-widening landscape of VOD and streaming service-produced projects has increased the room with which artists can flex their musical chops.
2015 was an embarrassment of movie score riches. In indie horror gem Bone Tomahawk, Jeff Herriott & S. Craig Zahler inject hope and despair into a bleak, cannibal-stricken Wild West, where feeling anything is better than the unflinching mortality facing its characters. Patrick Doyle’s warmhearted Cinderella continued Disney’s tradition of attaching amazing scores to frivolous live-action do-overs, while on the other end of the spectrum, »
- David Klein
4 items from 2016
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