When she's handed her trophy, she'll be speaking directly to hundreds of millions of people around the world. During those two minutes, Moore has a chance to be the voice for more than 44 million people living with Alzheimer's.
In this "based on a true story" film, while we are not given a great deal of new information, we are given an important new perspective on the moments leading up to the fifty mile march from Selma to Montgomery. This is precisely why the arts remain so vital, because of the way artists sort things out for us, each in their own unique way.
This year, many people are upset that Ava DuVernay, director of Selma, was snubbed, calling it racism... but the film itself was nominated. Is it racist to nominate the film but not the director? The bigger question is, does racism play a part in determining who gets nominated and who doesn't?
What would happen, do you think, if we unleashed our most creative selves as we're considering what action to take to right the wrongs in this world?
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.
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.
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.
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.
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!
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.
Of course, since this is a Wachowski offering, the visuals are frequently stunning in an overwhelming manner, and scene after scene is quite entertaining. There is a problem, though, with the casting.
What film will win the Best Picture Oscar this year? Will it be the one with the greatest production accomplishment? Will it be the one that takes you deep inside a character's subjective world-view and makes you see life from his limited perspective?