Well, considering where we are at now, we're almost at the point where Her or Lewelyn Davis don't get made period, oscars or no oscars.

It's basically Megan Ellison at Annapurna Pictures almost single-handedly keeping American cinema alive at this point. Pretty much no-one else in Hollywood is funding original movies anymore.

Frankly, ever since Dredd was snubbed in all categories, I don't take the Oscar's seriously anymore.

Academy Award Nominee Star Trek Into Darkness makes me want to punch things.

Other than that, pretty solid lineup. I'm glad to see Her got some nominations, though it is pure bullshit how Juaquin keeps getting snubbed when he's doing transcendent work. First they snub him for The Master, now for Her.

Also wish Oblivion had picked up a Cinematography nod, but what can you do.

Still, much more reasonable list than last year, I feel pretty OK with most of these choices.

Just saw it last night. Completely changes my top 10 list, and may actually unseat Gravity as my #1.
I almost hate how GOOD Spike Jonze is at writing/directing. Every goddamn scene feels so believable, and relatable, and thought-provoking, and the movie just throws one cool concept after another at you every 20 minutes.

I actually think this is one of the best and most believable pieces of sci-fi world-building since Children of Men.
It cranks up where we are as a society now by like 10%, and comes up with all sorts of clever ideas. I didn't expect how much of that stuff would be there going in. They must've had input from futurists and designers, because a lot of the tech is crazy believable (and I want those cell-phone cases and monitors now).

And just visually, this is one of the most beautiful, pleasant-looking future movies ever made. I was in love from the first shot. It's so refreshing to have a pleasant and happy future aesthetic after a sea of these depressing future dystopia's post-Blade Runner.

I think the ending maybe plays things a bit more abrupt than it should, but I'd need a re-watch to assess my feelings, but goddamn.

You the man Jonze.

She definitely orders a pizza online from like pizzahut.com, which seemed mind-blowing and crazy when we saw this in the 90s, and is just the way most people order pizza now. She also has a digital fireplace screensaver she watches instead of using a real fireplace.

Also Dennis Miller is in this movie for some reason.

Ridley Scott has Exodus, his Moses movie with Christian Bale that's filming right now.
I actually really like Prince of Egypt, so of the two, I'd probably be far more likely to enjoy Exodus.

Noah's ark has always been one of the dumbest stories in the bible, and I don't get why they keep trying to adapt it. That does not work in film form, I'm sorry.

Ya, I wish he had that available. The boat chase is such an awesome action sequence (and all done for real) that I don't at all care, but ya, it's very noticeable if you're looking for it.

Thank you Zarban. I've been walking around thinking I'm losing my mind for thinking 47 Ronin is kind of awesome and criminally getting trashed. It's a mega-budget hollywood movie that has the balls to end with

It's obvious there was weird editing and meddling involved (scenes aren't allowed to breathe, it's way too jumpy), but if this gets a 12% and Star Trek Into Darkness gets an 87%, I'm officially done with Rottentomatoes as any kind of barometer of quality.

I think they made the right call. The movie has intentionally kind of over-the-top cartoony action, which works because it's animated and lets Spielberg have a lot of fun with those sequences. If it was live-action it would remind us of the worst parts of Kingdom of the Crystal Skull and Hobbit and feel out of place. Also that dog would not work in live-action.

I have no problem with heightened and somewhat cartoony action if it's in an animated movie.

Ehh.....I sorta agree, but not entirely. My favorite part of Tin-Tin is the crazy 1-take chase sequence, because it lets Spielberg have fun with the freedom of a virtual camera. If you're making an animated movie anyway, there's some merit in taking advantage of the possibilities of the format (assuming the choices fit the type of movie you're making, which in the case of Tin-Tin, a goofy light-hearted adventure story, is the case).

10 more mil and it out-grosses Man of Steel worldwide