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	<title>EntertainmentCategory: Oscar 2013 Picks &#124; Entertainment &#124; TIME.com</title>
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		<title>EntertainmentCategory: Oscar 2013 Picks &#124; Entertainment &#124; TIME.com</title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Picture</title>
		<link>http://entertainment.time.com/2013/02/22/oscars-2013-richard-corliss-picks-best-picture/</link>
		<comments>http://entertainment.time.com/2013/02/22/oscars-2013-richard-corliss-picks-best-picture/#comments</comments>
		<pubDate>Fri, 22 Feb 2013 18:20:34 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Oscar 2013 Picks]]></category>
		<category><![CDATA[Argo]]></category>
		<category><![CDATA[Ben Affleck]]></category>
		<category><![CDATA[Best Picture]]></category>
		<category><![CDATA[Life of Pi]]></category>
		<category><![CDATA[lincoln]]></category>
		<category><![CDATA[Silver Linings Playbook]]></category>
		<category><![CDATA[Steven Spielberg]]></category>
		<category><![CDATA[Zero Dark Thirty]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3531680</guid>
		<description><![CDATA[Or: Why Argo is a Lock Nominees Amour Argo Beasts of the Southern Wild Django Unchained Les Misérables Life of Pi Lincoln Silver Linings Playbook Zero Dark Thirty Early last month I was called on to present the National Board of Review&#8216;s prize for Best Directorial Debut to Beasts of the Southern Wild director Benh Zeitlin. The NBR is a group of cinephiles who stage their awards banquet, by far the poshest on the East Coast, in the magnificent Italian Renaissance building that was once the Bowery Savings Bank and is now Cipriani 42nd Street. It&#8217;s a big, glamorous deal; everybody shows up. One of the laureates was Ben Affleck, to be honored that night with a Special Achievement in Filmmaking Award — which translates as We Didn&#8217;t Think You Made the Best Picture (which went to Kathryn Bigelow for Zero Dark Thirty) But We Liked Argo and Would Be Pleased if You&#8217;d Drop By. When Affleck came on stage, a few awards after me, he said joshingly that he wished Richard Corliss had been the one to hand him his prize, because &#8220;he gave my movie no stars.&#8221; The actor was also vexed because I had written favorably about his other new film, To the Wonder, for which director Terrence Malick had reduced Affleck&#8217;s speaking role to just a few lines. Affleck was gone before I could locate him, but I wanted to thank him for giving me my 15 seconds of notoriety — and to point out that my Argo review, which ran the day after its September world premiere at the Toronto Film Festival, was not &#8220;no stars&#8221; but judiciously mixed. Under the headline &#8220;An Oscar for Ben Affleck?&#8221;, the review acknowledged that the movie had the makings of a Best Picture winner; it ended with the appraisal, &#8220;Argo is just so-so.&#8221; (READ: Corliss&#8217;s review of Argo and judge for yourself) What might have rankled Affleck was not that I didn&#8217;t love his movie but that, of early critics whose reviews were tabulated on the Rotten Tomatoes aggregate site, I was the only<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3531680&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Oscar 2013 Picks</primary_category><primary_category_link>http://entertainment.time.com/category/movies/oscar-2013-picks/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/08/movies_argo.jpg?w=240</featured_image>
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			<media:title type="html">Argo</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<item>
		<title>Oscars 2013: Richard Corliss’ Picks – Best Director</title>
		<link>http://entertainment.time.com/2013/02/21/oscars-2013-richard-corliss-picks-best-director/</link>
		<comments>http://entertainment.time.com/2013/02/21/oscars-2013-richard-corliss-picks-best-director/#comments</comments>
		<pubDate>Thu, 21 Feb 2013 22:05:35 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Oscar 2013 Picks]]></category>
		<category><![CDATA[Ang Lee]]></category>
		<category><![CDATA[Benh Zietlin]]></category>
		<category><![CDATA[david o. russell]]></category>
		<category><![CDATA[Michael Haneke]]></category>
		<category><![CDATA[Steven Spielberg]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3531525</guid>
		<description><![CDATA[Nominees Michael Haneke, Amour Ang Lee, Life of Pi David O. Russell, Silver Linings Playbook Steven Spielberg, Lincoln Benh Zeitlin, Beasts of the Southern Wild Three times out of four, the Best Director Oscar is the marriage license on the way to the Best Picture wedding. The winning auteur strides onstage, and any suspense about the ultimate prize evaporates. But occasionally, and four times in the past 14 years, the Director laureate — Steven Spielberg for Saving Private Ryan, Steven Soderbergh for Traffic, Roman Polanski for The Pianist, Ang Lee for Brokeback Mountain — finds that Best Picture has gone to the wrong picture. i.e., not his: Shakespeare in Love, Gladiator, Chicago and Crash, respectively. Just once in the past 80 years, the top prize went to a movie whose director was not one of his category&#8217;s five nominees. That happened in 1990, when Driving Miss Daisy took Best Picture without its director, Bruce Beresford, being shortlisted. (Oliver Stone got the Director Oscar for Born on the Fourth of July.) That anomaly is quite likely to recur on Sunday, for Argo remains the prohibitive favorite for the top Oscar, though its director, Ben Affleck, was shut out of a nomination. Some other movie could win Best Picture, but some other helmer will win Best Director. Who, then? Not indie prince Zietlin, 30, nor Austrian auteur Haneke, 70. Their nominations thrilled their films&#8217; admirers (like Yours Truly, who placed Amour and Beasts of the Southern Wild at the top of his 2012 10-best list). The choices also spoke well of the Academy&#8217;s small group of voting directors, who rewarded quality and were not hobbled by considerations of provenance. Zeitlin and Haneke, though, are like the NCAA basketball tournament&#8217;s unheralded colleges, the 15-seeds, that upset a national powerhouse in the first round. Through skill and luck, these two made it to the Final Five. But it would be a miracle — and to the Hollywood establishment, a scandal — if one of them won the championship. David O. Russell: Why was he chosen as a finalist over<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3531525&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Oscar 2013 Picks</primary_category><primary_category_link>http://entertainment.time.com/category/movies/oscar-2013-picks/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/11/life-of-pi-sorel_pi_16462_rgb.jpg?w=240</featured_image>
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			<media:title type="html">Image: Life of Pi</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Animated Feature</title>
		<link>http://entertainment.time.com/2013/02/21/oscars-2013-richard-corliss-picks-best-animated-feature/</link>
		<comments>http://entertainment.time.com/2013/02/21/oscars-2013-richard-corliss-picks-best-animated-feature/#comments</comments>
		<pubDate>Thu, 21 Feb 2013 22:04:37 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Oscar 2013 Picks]]></category>
		<category><![CDATA[Brave]]></category>
		<category><![CDATA[Brenda Chapman]]></category>
		<category><![CDATA[Emma Thompson]]></category>
		<category><![CDATA[Frankenweenie]]></category>
		<category><![CDATA[John C. Reilly]]></category>
		<category><![CDATA[John Lasseter]]></category>
		<category><![CDATA[Kelly Macdonald]]></category>
		<category><![CDATA[Mark Andrews]]></category>
		<category><![CDATA[ParaNorman]]></category>
		<category><![CDATA[Rich Moore]]></category>
		<category><![CDATA[Sarah Silverman]]></category>
		<category><![CDATA[The Pirates! Band of Misfits]]></category>
		<category><![CDATA[Tim Burton]]></category>
		<category><![CDATA[Wreck-It Ralph]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3531449</guid>
		<description><![CDATA[Nominees Brave, directed by Mark Andrews and Brenda Chapman Frankenweenie, Tim Burton ParaNorman, Chris Butler and Sam Fell The Pirates! Band of Misfits, Peter Lord Wreck-It Ralph, Rich Moore A civil war — Northern vs. Southern California, with a pedigreed clan battling their upstart cousins — reaches its climax Sunday night. For the Pixars of the Bay Area: the stately, strange mother-daughter drama Brave. Representing the Disney babies of Burbank: the raucous multigenerational video-game comedy Wreck-It Ralph. In its 12 years as an Oscar category, beginning with a win by DreamWorks&#8217; Shrek in 2002, Animated Feature has contained a full slate of five nominees only four times, including this year. (The other eight years, the paucity of available longform cartoons restricted the list of nominees to three.) In the first six years, the Oscar went to three foreign-made films — Hayao Miyazaki&#8217;s Spirited Away from Japan in 2003, the Brit Wallace &#38; Gromit in The Curse of the Were-Rabbit from Nick Park and the Aardman Studio in 2006, and George Miller&#8217;s Australian Happy Feet a year later — interspersed with Pixar&#8217;s Finding Nemo and The Incredibles. Since then, the winners have been all-American. Pixar, the class act of the crowd, took four consecutive statuettes, with its amazing run of Ratatouille, WALL·E, Up and Toy Story 3, before Paramount&#8217;s Rango broke the streak a year ago. For the first time, a Pixar feature entry, Cars 2, failed to receive a nomination. Three of the five current nominees —the Burton-Disney Frankenweenie, Laika&#8217;s ParaNorman and Aardman&#8217;s The Pirates! Band of Misfits — employ stop-motion animation, a maddening process that requires its devoted artisans to place puppets in elaborate doll-house sets and move them a scintilla for every exposed frame of film. All praise to the obsessives toiling in this antiquated medium, but the odds on a stop-motion film&#8217;s winning the Academy&#8217;s Animated Feature award are only one in 11: Aardman&#8217;s Were-Rabbit. If any of this year&#8217;s trio has a shot, it would be Frankenweenie, a stop-motion remake of a short live-action film the young Burton made in 1984 during an uncomfortable apprenticeship<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3531449&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Oscar 2013 Picks</primary_category><primary_category_link>http://entertainment.time.com/category/movies/oscar-2013-picks/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/02/pixar_brave_08.jpg?w=240</featured_image>
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			<media:title type="html">Behind the Scenes of Pixar&#039;s Brave—8</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Foreign-Language Film</title>
		<link>http://entertainment.time.com/2013/02/20/oscars-2013-richard-corliss-picks-best-foreign-language-film/</link>
		<comments>http://entertainment.time.com/2013/02/20/oscars-2013-richard-corliss-picks-best-foreign-language-film/#comments</comments>
		<pubDate>Wed, 20 Feb 2013 17:08:12 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Oscar 2013 Picks]]></category>
		<category><![CDATA[2013 Academy Awards]]></category>
		<category><![CDATA[A Royal Affair]]></category>
		<category><![CDATA[Amour]]></category>
		<category><![CDATA[Gael Garcia Bernal]]></category>
		<category><![CDATA[Kon-Tiki]]></category>
		<category><![CDATA[Michael Haneke]]></category>
		<category><![CDATA[NO]]></category>
		<category><![CDATA[War Witch]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3531195</guid>
		<description><![CDATA[Nominees Amour, directed by Michael Haneke, Austria Kon-Tiki, Joachim Rønning and Espen Sandberg, Norway No, Pablo Larrain, Chile A Royal Affair, Nikolai Arcel, Denmark War Witch, Kim Nguyen, Canada Zut alors, you may wonder: Why is Amour — a film in the French language, set in a Paris apartment and starring French actors — representing Austria? Because the Munich-born Haneke grew up, works and lives in Austria, the country that routinely submits his severe films for Academy consideration. Also because the French solons who choose the official nominee thought that The Intouchables, the buddy comedy that was a worldwide hit, was a sure shot for a Foreign-Language nomination. They were wrong. Haneke&#8217;s The White Ribbon, like Amour a Cannes Palme d&#8217;Or winner, was thought to be the front-runner for this Oscar in 2010 (the film was also nominated for Christian Berger&#8217;s black-and-white cinematography), but lost to the more palatable Argentine political thriller The Secret in Their Eyes. You can never tell about this category, with its odd eligibility requirements for Academy members and its often quirky choices. Three films have little more chance than The Intouchables of winning. The Danish A Royal Affair is a long, starchy bio-pic of political and monarchical intrigue, intermittently buoyed by the charm of its leads, Alicia Vikander and Mads Mikkelsen. Kon-Tiki vividly reconstructs Thor Heyerdahl&#8217;s 1947 raft sail across the Pacific, from Peru to Polynesia; the Academy will say thanks, but we already have Life of Pi. The Canadian War Witch packs complex emotion into its harrowing story of a Sub-Saharan girl kidnapped by a rebel Army; it&#8217;s an African Beasts of the Southern Wild, but with homicidal soldiers instead of magical aurochs. Fine movie; not an Oscar recipient. (Read: Oscars 2013: Great Performances) In another year, the voters might say yes to No, the fact-based story of the 1988 effort to oust Augusto Pinochet from his perch as Chile&#8217;s dictator. By shooting in low-def video, Larrain seamlessly interweaves his own scenes with documentary footage from the period. Because it&#8217;s told from the viewpoint of the advertising<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3531195&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Oscar 2013 Picks</primary_category><primary_category_link>http://entertainment.time.com/category/movies/oscar-2013-picks/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/11/top10_bestmovies_amour.jpg?w=240</featured_image>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Documentary Feature</title>
		<link>http://entertainment.time.com/2013/02/20/oscars-2013-richard-corliss-picks-best-documentary-feature/</link>
		<comments>http://entertainment.time.com/2013/02/20/oscars-2013-richard-corliss-picks-best-documentary-feature/#comments</comments>
		<pubDate>Wed, 20 Feb 2013 17:04:55 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Oscar 2013 Picks]]></category>
		<category><![CDATA[2013 Academy Awards]]></category>
		<category><![CDATA[5 Broken Cameras]]></category>
		<category><![CDATA[How to Survive a Plague]]></category>
		<category><![CDATA[Searching for Sugar Man]]></category>
		<category><![CDATA[The Gatekeepers]]></category>
		<category><![CDATA[The Invisible War]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3531198</guid>
		<description><![CDATA[Nominees 5 Broken Cameras, Emad Burnat and Guy Davidi The Gatekeepers, Dror Moreh How to Survive a Plague, David France The Invisible War, Kirby Dick Searching for Sugar Man, Malik Bendjelloul Who can stop the Sugar Man Express? Beginning with an Audience Award at last year&#8217;s Sundance, Searching for Sugar Man piled up prizes from Moscow to Durban, South Africa — the country where an obscure Detroit singer-songwriter named Rodriguez became a mysterious pop star in the 1970s. Recently the movie certified its Oscar éclat by amassing a fistful of guild citations: Producers, Writers, Editors, you name it. The Academy&#8217;s doc voters may not care about a film&#8217;s popular success, but Sugar Man has also been a modest hit: its $3.3 million at the domestic box office was more than six times the total take of the other four nominees. For the record: The Gatekeepers, $228,428; How to Survive a Plague, $132,055; 5 Broken Cameras, $93,578; The Invisible War, $69,067. You see, real people usually don&#8217;t pay to see a documentary unless it&#8217;s a hate-the-other-side political screed. (The anti-Barack doc 2016 Obama&#8217;s America roused the Republican faithful to the tune of $33.5 million, or 10 times Sugar Man&#8217;s earnings.) It&#8217;s too bad the mass audience thinks of docs as sour medicine, since this group of nominees offers not only worthy subjects but, for the most part, compelling emotions. Though The Gatekeepers — Israeli spies spilling beans about their &#8220;anti-terror&#8221; jobs — has trouble transcending the dry series of talking heads, its partner film, 5 Broken Cameras, gives the Israeli-Palestinian conundrum a human face. Burnat is a West Bank resident who in 2005 was given a camera that he employed to record daily life in the encampment and the proliferation of Jewish settlers in this disputed territory. The cameras are not only a documenting device for his infant son but sometimes a shield from the occupying solders&#8217; fire. (As one camera breaks, Burnat gets another.) Davidi, an Israeli filmmaker and professor, compiled Burnat&#8217;s footage into this film — a small but warming example of Mideast entente.<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3531198&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Oscar 2013 Picks</primary_category><primary_category_link>http://entertainment.time.com/category/movies/oscar-2013-picks/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/08/11.jpg?w=240</featured_image>
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			<media:title type="html">Searching for Sugarman</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Original Screenplay</title>
		<link>http://entertainment.time.com/2013/02/20/oscars-2013-richard-corliss-picks-best-original-screenplay/</link>
		<comments>http://entertainment.time.com/2013/02/20/oscars-2013-richard-corliss-picks-best-original-screenplay/#comments</comments>
		<pubDate>Wed, 20 Feb 2013 17:02:12 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Oscar 2013 Picks]]></category>
		<category><![CDATA[2013 Academy Awards]]></category>
		<category><![CDATA[Amour]]></category>
		<category><![CDATA[django unchained]]></category>
		<category><![CDATA[Flight]]></category>
		<category><![CDATA[Moonrise Kingdom]]></category>
		<category><![CDATA[Zero Dark Thirty]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3531097</guid>
		<description><![CDATA[Nominees Wes Anderson &#38; Roman Coppola, Moonrise Kingdom Mark Boal, Zero Dark Thirty John Gatins, Flight Michael Haneke, Amour Quentin Tarantino, Django Unchained With these five excellent films, it&#8217;s easiest to say which screenplays won&#8217;t win: Moonrise Kingdom, the year&#8217;s top-grossing American indie film, whose complex comic glow has faded since its release last May, and Flight, a mainstream drama from Oscar-winning director Robert Zemeckis with a modest budget ($30 million) and an impressive show at the box office ($93.8 million) but no traction during the awards season. That leaves three movies that offer compelling arguments for, and against. Amour: The first movie in Oscar history to be nominated for Best Picture, Foreign-Language Film, Director, Actress and Screenplay in the same year (The Emigrants was shortlisted in the same categories, but the Foreign-Language nomination came a year before the other four), Michael Haneke&#8217;s late-life love story is a bold original, all right. Academy voters who revere the film — thinking that it won&#8217;t win Best Picture, Director or Actress, and that a Foreign-Language statuette alone doesn&#8217;t do Amour justice — might slip it an Oscar here. But of the dozens of critics&#8217; societies and international awards cartels that showered love on Amour, only the London Critics Circle thought to cite it for Best Screenplay; and that group was clearly besotted by the film, giving it seven prizes. The performances, the direction and the claustrophobic tension are the essentials here, not the script. Django Unchained: As Mary Corliss notes, Quentin Tarantino&#8217;s chatty Southern Western certainly has a lot of words, but too many of them may begin with n or f to suit the tastes of Oscar members. A three-time nominee for Original Screenplay, QT has won only for Pulp Fiction (shared with Roger Avary) 18 years ago. Genre pastiche appeals to critics and fanboys more than to Academy voters; and a mashup of &#8217;60s Spaghetti Western and &#8217;70s Blaxploitation lacks the pedigree that wins Oscars. If there were a category for Original Imitation, Django would be a lock. (Watch: Oscars 2013:<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3531097&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Jason Clarke in Zero Dark Thirty</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Adapted Screenplay</title>
		<link>http://entertainment.time.com/2013/02/20/oscars-2013-richard-corliss-picks-best-adapted-screenplay/</link>
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		<pubDate>Wed, 20 Feb 2013 16:49:21 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
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		<category><![CDATA[Argo]]></category>
		<category><![CDATA[Beasts of the Southern Wild]]></category>
		<category><![CDATA[Life of Pi]]></category>
		<category><![CDATA[lincoln]]></category>
		<category><![CDATA[Silver Linings Playbook]]></category>

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		<description><![CDATA[Nominees Lucy Alibar &#38; Benh Zeitlin, Beasts of the Southern Wild Tony Kushner, Lincoln David Magee, Life of Pi David O. Russell, Silver Linings Playbook Chris Terrio, Argo The Oscar-night invitations to Alibar and Zeitlin could have read: &#8220;Hey, kids, come to our fancy party and watch other people win things. Your prize is that we let you in.&#8221; Hushpuppy&#8217;s running monologue in Beasts of the Southern Wild (based on the Alibar play Juicy and Delicious) is a child&#8217;s verdant imagination transformed into Delta poetry. The film richly merits its inclusion in this and the three other major categories — Picture, Direction, Actress — but it has little chance of winning in any of them. Same with Life of Pi. Magee&#8217;s work here is stronger than his earlier scripts for Finding Neverland and Miss Pettigrew Lives for a Day, which drowned in arch whimsy. But his Pi script never quite solves the problem (also in Yann Martel&#8217;s novel) of encasing the main story in a plausible narrative frame. Ang Lee&#8217;s movie is a triumph of visual sorcery that will win technical categories, and possibly Best Director. Just not Adapted Screenplay. If the vote counts for Academy categories were revealed — a tactic that, incidentally, would make the Oscar show much more exciting, like a close race on Election Night — Silver Linings Playbook would probably come in third here. An adaptation of Matthew Quick&#8217;s novel, Russell&#8217;s script is a seductive text for actors. At least the Academy members thought so, bestowing nominations on Bradley Cooper, Jennifer Lawrence, Robert De Niro and Jacki Weaver. But it&#8217;s not a significant screenwriting achievement, and the voters will recognize that too, by leaving it among the also-rans. (Read: Oscars 2013: Great Performances) If the Oscars were the Tony awards, or the Pulitzers, Lincoln would win by acclamation. Kushner took both prizes for his 1993 two-part Broadway epic Angels in America, and received two Tony nominations for his contributions to the musical Caroline, or Change. But Manhattan is not Hollywood; and Kushner, previously Oscar-nominated with Eric Roth for Steven Spielberg&#8217;s Munich, may not be<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3531098&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Argo</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Actress</title>
		<link>http://entertainment.time.com/2013/02/19/oscars-2013-richard-corliss-picks-best-actress/</link>
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		<pubDate>Tue, 19 Feb 2013 20:26:27 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
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		<category><![CDATA[Oscar 2013 Picks]]></category>
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		<category><![CDATA[Emmanuelle Riva]]></category>
		<category><![CDATA[Jennifer Lawrence]]></category>
		<category><![CDATA[Jessica Chastain]]></category>
		<category><![CDATA[Naomi Watts]]></category>
		<category><![CDATA[Quvenzhane Wallis]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3530996</guid>
		<description><![CDATA[Nominees Jessica Chastain, Zero Dark Thirty Jennifer Lawrence, Silver Linings Playbook Emmanuelle Riva, Amour Quvenzhané Wallis, Beasts of the Southern Wild Naomi Watts, The Impossible The youngest and oldest Acting nominees in Oscar history —  Wallis, six when she made her movie debut, now nine, and Riva, who&#8217;ll be 86 on Oscar Night — both give indelible performances in films seen by relatively few people. Wallis was wondrous as the wise wild child of the storm-tossed Delta, but voters may wonder how much lightning director Benh Zeitlin caught in a bottle. The only suspense for the petite Ms. Wallis next Sunday evening should be whether the presenters pronounce her first name correctly: Qui-VEN-zha-NAY. (Read: Oscars 2013: Great Performances) More than a half-century after her defining role as the Frenchwoman having a guilty Japanese affair in Hiroshima, mon amour, Riva plays a woman incapacitated by strokes and tended by her husband (another French acting legend, Jean-Louis Trintignzant, who should have been nominated for Best Actor). It&#8217;s surely the single great performance in any of the Acting categories, and it should speak profoundly to the many elderly Oscar voters. Yet for that very reason — that it forces matters of decay and death on viewers who feel the cold breath of mortality in every pore — some Academy members of advanced age have reportedly been scared away from watching Amour. (Riva, who won the BAFTA prize for Best Actress, was not even nominated for a SAG award.) And if people refuse to see the film, they&#8217;re not likely to vote for its leading lady. The Impossible, a more forthrightly inspirational story about a woman facing tragedy, also did not reach a wide audience. And if the WASPy Ben Affleck takes flack from Latino activists for playing the part-Mexican CIA spy Tony Mendez in Argo, why isn&#8217;t the WASPy (Anglo-Australian) Watts, 44, criticized for taking the true-life role of a Spanish woman whose family is sundered by the Indonesian tsunami? Answer: Because Watts has no chance of winning, and any protests against her would receive little publicity. Chastain, 35, has lost<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3530996&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Oscar 2013 Picks</primary_category><primary_category_link>http://entertainment.time.com/category/movies/oscar-2013-picks/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/09/ph9l2jgahoxdca_1_l.jpg?w=240</featured_image>
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			<media:title type="html">SILVER LININGS PLAYBOOK</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Actor</title>
		<link>http://entertainment.time.com/2013/02/19/oscars-2013-richard-corliss-picks-best-actor/</link>
		<comments>http://entertainment.time.com/2013/02/19/oscars-2013-richard-corliss-picks-best-actor/#comments</comments>
		<pubDate>Tue, 19 Feb 2013 20:22:16 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
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		<category><![CDATA[2013 Academy Awards]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3531031</guid>
		<description><![CDATA[Nominees Bradley Cooper, Silver Linings Playbook Daniel Day-Lewis, Lincoln Hugh Jackman, Les Misérables Joaquin Phoenix, The Master Denzel Washington, Flight Three words, two of them hyphenated, suffice for this entry: Daniel Day-Lewis. The rest is filler. The other four contenders, mere ushers in Day-Lewis&#8217;s third Oscar wedding (after Best Actor wins for My Left Foot in 1990 and There Will Be Blood in 2008) all play variations on a favorite Academy character type: the ostentatiously afflicted. Some take advantage of their directors&#8217; relentless closeups to spume in vocal or lyric oratory, like Phoenix, 38, the showboating crackpot to Philip Seymour Hoffman&#8217;s Master, and Jackman, 44, as Jean Valjean, never too whiplashed by fate to stop singing. These two actors are included because the number of nominees is five, and the voters didn&#8217;t have the acumen or the cojones to cite Jean-Louis Trintignant for his superb work as Emmanuelle Riva&#8217;s obsessively devoted caretaker-husband in Amour. (Read: Oscars 2013: Great Performances) Washington, 58, a six-time nominee who won Supporting for Glory and Best Actor for Training Day, gave a career-topping performance as the air-crash hero pilot who is also a pathetic junkie in denial, but somehow he&#8217;s not even in the conversation this year. Cooper, 38, doesn&#8217;t have Washington&#8217;s résumé, but he&#8217;s the big news in Silver Linings Playbook and the best, perhaps the only, reason to take this rom-com of two neurotics as a serious treatment of mental illness in all its rage and poignancy. He&#8217;d be a solid selection for this Oscar, if only&#8230; &#8230;if only Day-Lewis had stuck to his carpentry and said &#8216;no&#8217; to Steven Spielberg. The Anglo-Irish star has copped virtually every Best Actor prize of the past four months, and he&#8217;s tempered his reputation as That Crazed Method Dude by giving thoughtful, agreeable speeches at his myriad award appearances. Need another argument for his choice? Six of the past 10 Oscar winners for Best Actor have played real people: Adrian Brody in The Pianist, Jamie Foxx in Ray, Philip Seymour Hoffman in Capote, Forrest Whitaker in The<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3531031&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Image: Lincoln</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Supporting Actress</title>
		<link>http://entertainment.time.com/2013/02/19/best-supporting-actress/</link>
		<comments>http://entertainment.time.com/2013/02/19/best-supporting-actress/#comments</comments>
		<pubDate>Tue, 19 Feb 2013 18:25:48 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
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		<category><![CDATA[amy adams]]></category>
		<category><![CDATA[Anne Hathaway]]></category>
		<category><![CDATA[Helen Hunt]]></category>
		<category><![CDATA[Jacki Weaver]]></category>
		<category><![CDATA[Sally Field]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3530967</guid>
		<description><![CDATA[Nominees Amy Adams, The Master Sally Field, Lincoln Anne Hathaway, Les Misérables Helen Hunt, The Sessions Jacki Weaver, Silver Linings Playbook Weaver, 66, a virtual unknown outside Australia until her well-earned nomination as the crime-family mom in Animal Kingdom two years ago, plays a more domesticated, less domineering mother (Bradley Cooper&#8217;s) in Silver Linings Playbook, which became the first movie since Reds in 1982 to place finalists in all four Acting categories. Adams, 38, scored her fourth Supporting Actress Oscar nomination (so far without a win) by triumphing over the Academy&#8217;s chilly reception to the critics groups&#8217; super-favorite The Master. Hunt, 49, who plays the caring sex surrogate to chipper invalid and iron-lung resident John Hawkes, won Best Actress the only other time she was nominated, 15 years ago, for the harried single mom on a road trip with an obsessive-compulsive writer (Jack Nicholson, also a winner) and a gay guy (Greg Kinnear) in As Good As It Gets. That romantic comedy received seven Oscar nominations; The Sessions, another indie fave of critics, got only one — hers — and will top out there. (Watch: Oscars 2013: Great Performances) The only plausible competition for Hathaway is Field, 66, a two-time Oscar laureate for Norma Rae in 1980 and Places in the Heart five years later — when she startlingly led off her acceptance speech by paraphrasing a line from Norma Rae: &#8220;You like me! You really like me!&#8221; Hollywood still likes the erstwhile Flying Nun, who is a feisty treat as Mary Todd Lincoln, and who&#8217;s been campaigning to the Academy electorate as charmingly and doggedly as Michelle Obama for healthier snacks. But Field will likely be sitting when Hathaway, 30, strides on stage to accept her award for losing 20 pounds, having her head shaved and incanting, in a single shot, &#8220;I Dreamed a Dream.&#8221; Hathaway has already taken the Screen Actors Guild and BAFTA trophies and looks Oscar-unstoppable. This is the year when the thin lady sings: &#8220;Thank you.&#8221; GO TO HIS BEST ADAPTED SCREENPLAY PICK GO BACK TO HIS<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3530967&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Oscars 2013: Richard Corliss’ Picks &#8211; Best Supporting Actor</title>
		<link>http://entertainment.time.com/2013/02/19/best-supporting-actor/</link>
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		<pubDate>Tue, 19 Feb 2013 18:23:26 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Awards]]></category>
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		<category><![CDATA[Alan Arkin]]></category>
		<category><![CDATA[christoph waltz]]></category>
		<category><![CDATA[Philip Seymour Hoffman]]></category>
		<category><![CDATA[Robert De Niro]]></category>
		<category><![CDATA[Tommy Lee Jones]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3530974</guid>
		<description><![CDATA[Nominees Alan Arkin, Argo Robert De Niro, Silver Linings Playbook Philip Seymour Hoffman, The Master Tommy Lee Jones, Lincoln Christoph Waltz, Django Unchained All five competitors have won previous Oscars, for Actor or Supporting Actor or both (De Niro in Raging Bull and The Godfather Part II). Arkin, 78, in a minor comedy role outshone by his unnominated partner John Goodman, is the only Argo performer on the Academy short list, and won&#8217;t benefit even if the movie takes Best Picture. Hoffman, 45, who does not play Scientology founder L. Ron Hubbard in The Master, will also not win this time. Some forecasters think that De Niro, who at 69 is more than two decades removed from his last Oscar nomination (for Cape Fear), could get a sympathy vote as a senior star back in the limelight. Will he profit or lose from the quartet of Acting nominations bestowed on Silver Linings Playbook? Chances look poor, since the movie was passed over for Best Actor by the Screen Actors Guild in favor of Argo. (Watch: Oscars 2013: Great Performances) Jones, 66, took more critics&#8217; prizes for his role as President Lincoln&#8217;s Congressional spearhead Thaddeus Stevens than Waltz, 56, won as Quentin Tarantino&#8217;s loquacious bounty hunter. The taciturn Texan also snagged this year&#8217;s Screen Actors Guild award, for which Waltz was not nominated. (Javier Bardem filled the fifth SAG slot, for Skyfall.) But the smiling Austrian earned plenty of TV time giving acceptance speeches at BAFTA and the Golden Globes, and as last weekend&#8217;s guest host of Saturday Night Live. In what is arguably a lead role, he now seems the favorite to walk — we&#8217;d never say Waltz — up to receive the statuette. GO TO HIS BEST SUPPORTING ACTRESS PICK GO BACK TO HIS BEST ACTRESS PICK<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3530974&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">1138856 - Django Unchained</media:title>
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