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Lee Daniels’ The Butler

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AMERICAN HUSTLE and GRAVITY lead the Oscar nominations. 12 YEARS A SLAVE close behind. And what’s ALONE YET NOT ALONE?

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The Oscar nominations arrive tomorrow. Who’s in, who’s out, and who might surprise us?

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Members of the motion-picture academy could begin voting for the Oscars as early as Dec. 27, and today marks the final day on which they can turn in their ballots. In other words, nothing that happens after today – save for some kind of technical glitch with the electronic voting

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Last week’s awards announcements suggest 12 YEARS A SLAVE and AMERICAN HUSTLE are the Oscar front-runners, but what about the surprises?

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Edit: This article once stated that Judi Dench was a musical or comedy contender at the Golden Globes for her work in Philomena. However, she and the film will compete in the drama categories. This week saw not only the Gotham Awards ceremony, but also the New York Film Critics

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Movies

The first-ever screening of David O. Russell’s American Hustle took place on Sunday. Word on the film ranges from decent to terrific, but the one aspect on which everyone seemed to agree: Jennifer Lawrence. Last year’s best actress winner apparently steals the movie with her scenes as the wife of

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With around $36.6 million, Thor: The Dark World again won the box office, but competition for the number one spot was surprisingly heated, so there go the “hammer” and “clobber” puns I would have otherwise used. Malcolm D. Lee’s The Best Man Holiday, sequel to 1999’s The Best Man, more

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Awards, Fests, and Campaigns Disney will push Saving Mr. Banks, which had a great stateside debut at the AFI Fest, as a drama at the Golden Globes. Most of us thought the film, which examines Walt Disney and P.L. Travers’ disagreements about 1964’s Mary Poppins, would contend in the musical

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The movie world is all about the actors, though the occasional director, like Peter Jackson, George Lucas, or Steven Spielberg, gets lucky every now and then. Among the cinematic minds who almost always the short end of the stick, however, are the writers, but The Hollywood Reporter gives them the

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Blue is the Warmest Color, Abdellatif Kechiche’s drama about a romance between two young women, took to four screens this weekend and opened with $100,316. That’s $25,079 for each screen, a better average than Michael Haneke’s Amour, the drama about an elderly woman and her husband that earned five Oscar

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Surprise: Another film we thought would contend for Oscars this year got bumped to next year, as Sony moved The Monuments Men to 2014. Apparently there wasn’t enough time to finish the visual effects. This move might give the distributor’s upcoming American Hustle more room to breathe. Monuments director George

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Before heading into this week’s analysis, one should note that six films we assume are Oscar contenders remain unseen: American Hustle, Lone Survivor, Out of the Furnace, Saving Mr. Banks, and The Wolf of Wall Street. (The lattermost might not arrive this year, but distributor Paramount hopes it will be

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Perhaps the most notable news of the week came on Monday, when The Weinstein Co. announced that Grace of Monaco will debut in theaters next year. Originally planned for release on Nov. 27, the Nicole Kidman-led biopic needs more time for completion and will hit theaters next spring as a

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As if it needed another boost, Steve McQueen’s 12 Years a Slave won the Toronto International Film Festival’s audience award. The runners-up were Stephen Frears’ Philomena and Denis Villeneuve’s Prisoners. Expect the latter to be the big ticket this weekend as its only new competition comes in the form of

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We Oscar obsessives discuss the Academy Awards throughout the year, but the Toronto International Film Festival kicks off what we refer to as the Oscar season – and with good reason, as we have lots of ground to cover this week. Bill Condon’s The Fifth Estate kicked off the fest with

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12 Years a Slave 2013 Fall Films
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The Telluride Film Festival came to a close on Monday. Of course, the festival didn’t end without showcasing a number of potential Oscar contenders. Films like J.C. Chandor’s All is Lost, the Coen Brothers’ Inside Llewyn Davis, and Alexander Payne’s Nebraska already played at Cannes; the stateside premieres led to

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