Anderson’s work has always been personal, but I think it’s becoming even more personal, to the point where it’s more or less impossible to imagine anyone else making Wes Anderson’s movies, or to imagine Anderson making a non-personal film. I cannot, for the life of me, imagine what a Wes Anderson Marvel movie would look or feel like, though now I’m a little intrigued by that prospect.
Is the core of Wes Anderson’s terrific new movie The Grand Budapest Hotel more melancholy or giddy and joyous? Three film writers who loved the project talk about its ideas, its emotions, and whether it’s safe to call it his best film to date. [Read more…]
As a medium for gold-statuette-worthy storytelling, 3-D continues to grow, as evidenced by 2012’s 11 nominations for Hugo, last year’s 11 nominations for Life Of Pi, and this year’s 10 nominations for Gravity. And as Pi did for Ang Lee, Gravity’s mix of technical inventiveness and artistic integrity will likely lead to a Best Director Oscar for Alfonso Cuarón, making him the second filmmaker in a row to win an Academy Award for helming a 3-D movie, and the first to win for a movie that was technically up-converted to 3-D. Perhaps Avatar’s most lasting legacy isn’t that it turned 3-D into a Hollywood phenomenon, but that it paved the way for more films to weave 3-D organically into their stories, in a way that captures Oscar attention.
If Gravity wins the Oscar for Best Picture, it’ll be the first 3-D film to take that prize. Jen Chaney looks at its chances, the history of 3-D and the Oscars, the legacy of Avatar, and the constantly blurring lines between the cinematography and special-effects awards in this week’s Honorable Mentions column.