The top stories of the week from TOH!
Does the Academy Need a Visual Imaging Category?
“Gravity” and “12 Years a Slave” at PGA Awards (WINNERS LIST)
Oscar Talk: Nominations and Predictions
Box Office:
Friday Box Office: “Ride Along” & “Lone Survivor” Trump Sole New Wide Release “I, Frankenstein”
College Satire “Dear White People” Challenges Audiences at Sundance
Meet the Man Behind the Sundance Film Festival’s Valued Partner, the Sloan Foundation
Sundance 2014 Wrap: Discoveries, Disappointments, Breakouts & Awards Contenders (TOP TEN LISTS)
Sundance Expands Gender Parity Initiative, Documentaries are Friendlier to Women
Sundance Feeds Hungry Egos — Some Deserving, Many Not
Sundance Up Close: Lucy Walker’s Powerful Short Doc “The Lion’s Mouth Opens”
Talking the Oscar-Nominated Costume Design of “The Invisible Woman”
Talking the Oscar-Nominated Sound Editing and Mixing of “Lone Survivor”
News:
Sundance Deal Tally: As Sony Takes Fest Fave “Love Is Strange,” Who’s Bought What?
Oscar-Nominated “The Great Beauty” Wonderfully Serves Up the Sublime and Grotesque in Equal Measure
Run, Don’t Walk, to “Gloria” & “Stranger by the Lake” in Theaters This Weekend
Why Alain Guiraudie’s Sexy, Scary “Stranger by the Lake” Is Essential Queer Cinema
Sundance Review: Iranian Vampire Noir “A Girl Walks Home Alone at Night”
Sundance Review: Joe Swanberg Keeps Maturing with Strong Family Comedy “Happy Christmas”
Sundance Review: Lars von Trier’s “Nymphomaniac” Volume 1
Sundance Review: “Obvious Child” Succeeds Admirably as an Abortion Rom-Com
TV IS THE NEW CINEMA: Our Hopes Are “Justified”
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