No Country for Old Men (2007)
The second feature from director Julia Hart (“Miss Stevens”) has a solemn, hypnotic quality, hovering between the profound ramifications of its intimate story and the hints of an otherworldly drama. Co-written with her husband and producer Jordan Horowitz, the movie presents a fresh variation on the superhero story, a near-future setting that may as well take place in the same dystopian landscape where “Logan” found its own wayward mutant hiding from the world. However, while the Wolverine gave up on his responsibilities long ago,
The post The Dude Abides: Revisiting the Peculiar Charms of ‘The Big Lebowski’ 20 Years Later appeared first on /Film.
Roger Deakins was seen as the favorite at this year's Oscars for his stunning work on Blade Runner 2049, the long-awaited to sequel to Ridley Scott's original 1982 sci-fi classic. The movie may have been a bit of a financial flop, but it was critically beloved and a true visual achievement, which was in no small part thanks to Deakins' work. Blade Runner 2049 also walked away with the Best Visual Effects Oscar last night. Here's what Deakins had to say in his acceptance speech,
Coen, who has his own shelf of Oscars at home for “No Country for Old Men” and “Fargo,” seemed to be the right person for this task. He firmly clutched his wife’s Academy Award for “Three Billboards Outside Ebbing, Missouri,” occasionally allowing others to glimpse at it or cradle it, but certainly not to run away with it. Two onlookers who were particularly impressed by the glimmering object were “Spider-Man: Homecoming
The conventional wisdom is that it’s advantageous to release films late in the year to make a strong last impression on Oscar voters, and that still tends to be true. It’s relatively rare to see top Best Picture contenders released before September. But there’s a limit to how late an impression you want to make. Starting with the 2004 ceremony honoring the best films of 2003, the Oscars telecast moved up
1. “Three Billboards” was divisive — In a plurality vote, when the voters pick just one winner, it doesn’t matter how many people dislike your film as long as enough people love it. But since 2009 the
Maybe it leans more fantasy for some, but “The Shape of Water” gets an interesting designation: The first-ever science-fiction film to win best picture. It wasn’t Stanley Kubrick, nor Ridley Scott — it was Guillermo del Toro. Count it as yet another glass ceiling broken in 2017. Genre bias appears to be melting away more and more in the modern Oscars era (post-2008). Now, finally, a major victor for the form.
Always look to Frances McDormand for your Oscars moment
After 14 nominations in the category, the celebrated director of photography has finally won Oscar’s Best Cinematography trophy.
Deakins, 68, accepted the award on Sunday at the 90th annual Academy Awards for his work on Denis Villeneuve’s Blade Runner 2049.
He beat out fellow nominees Hoyte Van Hoytema (Dunkirk), Bruno Delbonnel (Darkest Hour), Dan Laustsen (The Shape of Water), and Rachel Morrison (Mudbound).
“I really love my job,” Deakins said in his speech. “I’ve been doing it a long time, as you can see. But one of the reasons I love it is the people I work with.
Deakins has been a perennial presence at the Oscars, nominated for films like “The Shawshank Redemption,” “Fargo,” “No Country for Old Men” and “Skyfall” over the years. The American Society of Cinematographers and the British Academy of Film and Television Arts have rewarded him multiple times, including this year for Villeneuve’s film.
The other cinematography Oscar nominees were Bruno Delbonnel for “Darkest Hour,” Hoyte van Hoytema for “Dunkirk,” Rachel Morrison for “Mudbound” and Dan Laustsen for “The Shape of Water.”
Deakins thanked his wife, “Blade Runner 2049” director Denis Villeneuve and everyone he’s worked with over the years in film.
Backstage, Deakins said that he wasn’t sure if wanted his name to be called. “I mean, a big part of me was saying,
2008 saw No Country For Old Men, Tilda Swinton and The Golden Compass take home Oscar gold...
Films have a habit of being judged twice at the very least. There’s the instant reaction, through box office and awards season. Then there’s the more circumspect view, as a film has dropped out of the original limelight it bathed in.
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As it's Oscar weekend, therefore, we’re continuing a Den Of Geek tradition, and going back a decade, to see how the films that were rewarded at the 2008 ceremony stand up today. It wasn’t a show without the odd surprise, but it was still one of the least contentious Oscar nights in recent memory, hosted by Jon Stewart. And
After his surprise Oscar win for “My Left Foot” at the 1990 ceremony almost two decades earlier, Day-Lewis had become an official A-List star. He followed with memorable performances throughout the early 1990s, including “The Last of the Mohicans” and Martin Scorsese’s “The Age of Innocence.” He then received an additional Oscar nomination for “In the Name of the Father,” playing the wrongfully convicted Gerry Conlin but lost the award to Tom Hanks for “Philadelphia.”
See Daniel Day-Lewis movies: Top 12 greatest films ranked from worst to best
Then came a rather slow period in Day-Lewis’ career, making no movies between 1997 and 2002. He
This win for “Dunkirk” does not guarantee that it will take home the Oscar. Only 12 of the 24 winners with the Cas have repeated at the Academy Awards.
Predict Oscar winners now; change them till March 4
“Coco” won best sound mixing in an animated feature over “Cars 3,””Despicable Me 3,” “Ferdinand” and “The Lego Batman Movie.” And “Jane” claimed the documentary feature prize over “An Inconvenient Sequel: Truth to Power,” “Eric Clapton: Life in 12 Bars,” “Gaga: Five Feet Two,” and “Long Strange Trip.”
On the TV front, “Game of Thrones” won on the
But during the long awards season, another narrative came into play. Deakins’ recognition may be long overdue after 14 nominations, but there was also an entire gender that had been previously overlooked. This was the year that Rachel Morrison’s stunning work on “Mudbound” received the first-ever Oscar nomination for a female cinematographer.
The result is a front-page level of attention for a below-the-line category. Deakins like to preach that DPs should go unnoticed, but that’s not to be this year. “I’m really happy working on this film ‘The Goldfinch’ right now,” joked
But how have these increases in the number of female nominees panned out in terms of wins? Below, figures 7a and 7b display the percentages of female nominees and winners per decade.
See Oscars and BAFTAs gender gap (Part 1): There have been more male winners than female nominees
Both figures 7a and 7b show a clear progression in each decade of the percentage of nominees and winners who are women, at both the Oscars and BAFTAs.
The last film to do this was “Memoirs of a Geisha” (2005), which edged out Best Picture nominees “Brokeback Mountain” and “Good Night, and Good Luck,” and non-Best Picture contenders “Batman Begins” and “The New World.” The following year’s Best Cinematography field was comprised entirely of non-Best Picture nominees — “Pan’s Labyrinth” beat “The Black Dahlia,” “Children of Men,” “The Illusionist” and “The Prestige” — so that is the last time a non-Best Picture nominee won the category. Since then, every cinematography champ has vied for the top award.
See 2018 BAFTA
One of the films world premiering at the upcoming South by Southwest Film Festival next month is “Thy Kingdom Come,” which has been revealed as a surprise spinoff of “To The Wonder.” The 43-minute film features Bardem’s priest as he interviews different Oklahoma natives about what is troubling them most.
Back in 2010, photojournalist Eugene Richards was hired by Malick to venture into the town Bartlesville, Oklahoma with Javier Bardem as his priest character. Over the course of the shoot, they spoke to the townspeople, ranging from a former Ku Klux Klan leader to a woman who recounted her stories of sexual assault. While some of this was seen in the final film, of course, there was mountains of it left over.
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