Matt Reeves’ latest film, War for the Planet of the Apes, is something of an anomaly. On the surface, it’s a big-budget summer blockbuster. But when you actually watch it, it feels much more like a poignant, bleak movie with Oscar potential. And now, its studio is going to push it as the latter.
Last night, viewers witnessed one of the greatest awards show fuck-ups of all time. After accidentally announcing that La La Land had won Best Picture, producers for the Academy Awards came out and explained that it was all a big mistake. Moonlight had actually won. It was awkward, to say the least. But it’s bringing…
Congratulations to Alessandro Bertolazzi, Giorgio Gregorini, and Christopher Nelson. I mean that sincerely, because in addition to actually doing some great makeup work but who also had to work under what I imagine to be truly unnecessarily awful conditions.
The 2017 Oscars are tonight, and while scifi and comic book fans didn’t get everything they wanted this year, there are some cool nominations that are worth getting psyched about. What are you hoping takes home the trophy this time? And just how pissed are you that Deadpool got snubbed?
If there’s anything Star Wars fans know about Gareth Edwards, it’s that he’s a very hands-on director. A recent demonstration shows how Industrial Light and Magic found a way to bring Edwards’ physical camerawork to the digital stage for Rogue One, using virtual reality.
The Oscars are right around the corner, and Industrial Light and Magic has been working hard to show off its contenders for Visual Effects. For Doctor Strange, they started by showing how they bent space. Now, they’re bending time.
The best visual effects are the ones we don’t even see. In Rogue One, we know Tarkin isn’t physically there and that the Death Star doesn’t really exist. So it’s the landscapes that are the true magic: entire worlds created in a computer to build out and expand a little sliver of actual filming, or nothing at all.
The Academy Awards are almost here and many people will be talking about red carpet fashion, comedic monologues, and who got robbed. But few will be paying attention to the most important awards category—Best Visual Effects. This supercut pulls together all the past winners into a nice little reminder of how much has…
Take a deep breath before you watch this collection of every Academy Award winner for Best Cinematography. There are so many wonderful shots and beautiful movies from 1927 to today that you might get lost in them and forget how to live.
It doesn’t even matter that Arrival managed to get into the Best Picture and Best Directing categories, because we all know the only thing nerds are going to be able to talk about is the snubbing of Deadpool.
Yes, we do live in the strange world where there is an actual chance Deadpool could nab itself an Oscar nomination for Best Picture. So what better way for the movie to pitch itself to the academy than by wheeling out its laser-guided marketing campaign once more?
How to win your first Best Actor Oscar? Simple. Star in a movie that actually wasn’t that great and give a performance that wasn’t nearly your best. And! Just scream a lot. At bears, at pain, at people, at everything. That’s basically what Leonardo DiCaprio did in The Revenant and it worked out nicely for him.
There was a brief moment during the Oscars where it looked like Mad Max: Fury Road might be on the way to getting the recognition it deserved as a truly groundbreaking, visually stunning film. Spoiler alert: It didn’t.
The 2016 Oscars have some of the staunchest VFX competition in the award show’s history. (Either Star Wars or Mad Max better win, I swear to God.) But the entire 87-year history of silver screen special effects is equally stunning.
Speaking of his Oscar-nominated animated short We Can’t Live Without Cosmos—about a pair of cosmonauts prepping for a voyage—Konstantin Bronzit told The New Yorker: “[It’s] about our inability to live in human society without exiting, sometimes, to an open space where we can really breathe deeply and freely.”
The Academy has acknowledged the outcry over a lack of diversity in this year’s Oscar nominees. The response, via BMD, isn’t much—a pledge to double the current number of female and “diverse” members by 2020, and tweaks to voting regulations to try and lower the average age of Academy voters. It’s... something, I…
On Monday, actor Idris Elba will make his way to Westminster to address Parliament regarding the egregious lack of diversity on British television.
The nominees for the 2016 Oscars have now been announced, and despite the welcome inclusion of Mad Max: Fury Road for Best Picture, there aren’t a lot of pleasant surprises in the mix. There are, however, some glaring omissions, as always. Here are the biggest.
Maybe not what you’d hoped, but pretty much in line with what the Academy Awards looks like every year. At least in 2016, Mad Max: Fury Road made the cut.
Or, at least, Warner Bros. would like to people to be forced to mention Mad Max: Fury Road when discussing next year’s Academy Awards nominations for Best Picture–for a massive, free amount of publicity, even though it doesn’t really expect Fury Road to get nominated, let alone win.