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Director Martin Scorsese’s first stab at a family film couldn’t have gone better. “Hugo,” based on the 2007 picture book “The Invention of Hugo Cabret,” is a beautifully rendered work that’s appropriate for children, yet possesses more emotional and thematic depth than the majority of films for adults. In other words, “Hugo” may be marketed as a family drama, but it shouldn’t be pigeonholed.
Animation offers viewers both the sensory effect of a film and the altered, stylized universe of a painting. There is something moving and poetic about animation that live-action is unable to access. Since 1931, the Academy of Motion Pictures and Sciences has awarded an Oscar for Best Animated Short Film. Here is a closer look at this year’s five animated short films.
Just when you thought you would never be able to forget the total train wreck that was James Franco and Anne Hathaway at last year’s Oscars ceremony, here we go again: The Academy Awards are this Sunday. So whose names will be called as winners of the coveted gold statuette? Do they really deserve to win-- and who might spoil it for them? Let’s break down the major categories and find out.
Much of director Clint Eastwood’s J. Edgar Hoover biopic is speculative and thus runs the risk of coming under attack from historical purists. But for those willing to view it for what it is – a movie – there is much to enjoy. Clearly, Eastwood has taken liberties in his storytelling, but that’s not a bad thing. In so doing, he has crafted a fascinating vision of a well-known personality.
This year's favorite for the Best Foreign Language Oscar depicts a couple battling an emotional separation and the theocracy that governs them. Set in Tehran, the film's warm reception in the United States says more about us -- and our unease with the wider world - than it does about Iran. Asghar Farhadi's “A Separation” vindicates our view of Iranians on some level, which is likely why it resonates with the Academy. But what about the films that don't? The past year saw a slew of movies that made waves with audiences in their home countries for reasons that have nothing to do with us.
Although writer-director Jeff Nichols’ “Take Shelter” was shut out when Oscar nominations were announced, it received a fair amount of critical acclaim thanks to awards from the Cannes and Hollywood film festivals and a spot on the National Board of Review’s list of the top 10 independent films of 2011. Of course, none of those accolades matter unless the movie holds up under scrutiny. Fortunately, it does.
The massive popularity of Stephenie Meyers’ “Twilight” book series is difficult to explain, but there are harder tasks. Try, for instance, unearthing solid rationale for the success of the movie adaptations. The first “Twilight” film was bad, but it introduced enough interesting elements to inspire hope for the franchise’s future. Four movies in, that promise has faded into an increasingly inane love triangle.
With very few exceptions, the fundamentalist doesn’t appear flattering on film. Some are avaricious conmen like Steve Martin in Leap of Faith, some are dogmatically judgmental like Piper Laurie in Carrie, and others are violent savages like Robert Mitchum in Night of the Hunter or, more recently, Michael Parks, who plays a penetrating parody of extremist Fred Phelps in the latest Kevin Smith film, Red State.