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...Howl's Moving Castle) used computer-generated imagery (CGI) and reasoned that resentment of animation veterans toward CGI could have played a part. That is simply not true. CGI films had been nominated every year since the Animation Feature category was created in 2001. The awards are not about box-office grosses or whether a film is CGI or not; the awards are about quality. Without question, the three best films were nominated this year. In the future there are going to be more excellent animated features, and perhaps they won't be CGI--so get used...
...1990s, back before Keanu knew kung fu, the Wachowskis wrote a screenplay of V for Vendetta. When Matrix mania finally subsided in 2003, they had the time to get the movie made. Just as important, they'd earned Warner Bros. $600 million in the U.S. at the box office, and that kind of money buys you the kind of good will you need to make a risky film. Instead of directing it themselves, they tapped James McTeigue, who worked under them on the Matrix trilogy. (The Wachowskis no longer talk to the press, and their personal lives are the subject...
...None of the nominees for Best Picture - Brokeback Mountain, Capote, Crash, Munich and Good Night, and Good Luck - have yet earned as much as $80 million at the North American box office. In fact, one of the finalists for Best Documentary Feature (March of the Penguins) has made more money than any of them...
...five major finalists are part of an off-Hollywood, almost an anti-Hollywood, light years removed from the pictures the moguls really wants to make: the moneymakers. Are the box office winners and the Oscar nominees even members of the same family? Yes, both are children of the movie industry; but they?re siblings without much in common. The Narnias and Wedding Crasherses are the son who got rich as a corporate lawyer, and the Capotes and Good Nights are the daughter who quit graduate school to become an inner-city social worker...
...favorite is a film with the kind of glossy production values that earn it nominations, and wins, in the frou-frou categories: art direction, costumes and, if the actors run around a bit, editing. No such easy marks this time. Look for Memoirs of a Geisha, a critical and box office disappointment but seemingly run off from the Academy template, to win a couple of these consolation prizes - and for King Kong, the film Hollywood was expecting would dominate the Oscars, to take the Special Effects trophy and maybe one or two others...