Bilge Ebiri opens his article, "Oscar Films and the Prison of Historical Accuracy," saying, "You know it's Oscar season when the historical-accuracy hit squads show up." The genealogist in me bristles.
A record 83 nations entered films in the Foreign Language category this year. I saw all 83 entries. Before proceeding to my comments about the five nominees and several non-nominees that particularly impressed me, I'd like to make a few general comments.
For several days now, I've been struggling to understand why I'm so out of the loop on this one. It's not because I don't like experimental films or Richard Linklater. I didn't like Boyhood because it wasted my time with mostly unlikable characters, generally bad storytelling, and a whole lot of nothing.
Yes, rape and sexual harassment have always been an issue in Turkey. However, reports of these crimes have been skyrocketing.
Personally, I think the Hollywood hypocrite's run has gone on long enough. Women as actresses have always been a fundamental aspect of Hollywood itself. They represent the glamour and beauty that made Hollywood what it is today, but this is a new age. Beauty can exist with power, and dominance should not be defined by one's gender.
I love music so much; that I don't see what good comes from choosing one cultural export as the song that defined our year 2014. The investigation of the word "artistry" is the only good thing to emerge from this media blip.
The art of film directing has been revered since the days of the Lumière Brothers, before the title of director had even been bestowed. Now, the director has achieved a level of celebrity that is only growing exponentially.
Today -- after the amicable departure of Flemons and Robinson for their own solo projects -- the band, more than ever, is a shifting troupe of young African-American folk musicians who revolve around Rhiannon Giddens. I had long wanted to speak with this lady.
Last Sunday's telecast of the annual awards show netted its lowest ratings in over six years. This shouldn't really come as a surprise to anyone, except for maybe Kanye West, who happens to be one of the few interesting artists left in the decaying corpse that is today's music business.
Teens Exploring Technology encourages inner city teenage Black and Latino males to become catalysts of change in urban communities.
While potential moviegoers may share a penchant for idiosyncratic white men and tortured geniuses, they may also enjoy female protagonists and films with casts of color involving themes other than slavery, civil rights, or race relations.
This year, three different films with "Made in NY" creds are up for the coveted Oscars, according to the New York City Office of Media and Entertainment. And a slew of other New York productions have recently won other awards.
After seeing Beyoncé fumble and falter her way through Mahalia Jackson's classic, "Precious Lord, Take My Hand," it can now be argued that artists aren't merely tossing about their faux manes, they're also throwing around their supposed professional clout.
This awards season, forget American Sniper. See the controversial movie Quebec separatists don't want you to see but conservationists can't wait for you to see but botanists forbid you to see but environmentalists say you must see. See Canadian Sniper--or at least its trailer. Go Canucks!
Not only is Sam Smith talented, but he's authentic. He is real in a world that is fake, and true to himself when many others are falling over to conform so they can make it big. I admire Sam Smith's honesty, and I respect his artistry.
Birdman is obviously a work of art, and more than that, it's a comedy, a fact that Keaton, who started his career as a standup comedian in Pittsburgh, couldn't be happier about.