Hiroshima Mon Amour

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Alain Resnais: 60 years of sensational cerebral filmmaking” — Peter Bradshaw at The Guardian walks down memory lane side-by-side with video assistance to cover a titan of creativity, individuality and storytelling.

On Oscars and the personal gravity of art” — Kristopher Tapley at HitFix clears away the fog of award season (an entire season!) to push a level-headed criticism of the circus. Just a reminder that, as Billy Murray’s Meatballs character chants: It Just Doesn’t Matter. Like what you like. Don’t worry about what gets a statue.

Oscars 1974: It was a very good year” — Susan King at The LA Times profiles a fun, profound ceremony — a great read after that safe, dull, dead-horse-beating show they produced last night.

The Last, Disposable Action Hero” — Alex French at The New York Times checks in on David Hayter’s directorial debut and touches on the new trend in Hollywood of finding no-name actors, pumping them up with a personal trainer and giving them some spandex.

Brutal Truth: How Oscar Voters Pick The Winners” — Sam Adams at IndieWire rounds up the money quotes from THR’s conversations with terrible, awful people who don’t take their AMPAS responsibility (or movies) all that seriously. It’s a miracle that reason sometimes triumphs through the wilderness.

Where’s their nerve? Today’s comics mock poop, not the powerful” — Kyle Smith at The New York Post with a dead-on criticism of gutless comedy. Institutions can rest easy.

Why the British film industry is not thriving” — 12 Years a Slave and Gravity have people bullish, but former Hammer Films exec Terry Ilott brings a rain cloud to the parade.

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