Author Jason McKiernan

I married into the cult of cinema at a very young age - I wasn't of legal marriage age, but I didn't care. It has taken advantage of me and abused me many times. Yet I stay in this marriage because I'm obsessed and consumed. Don't try to save me -- I'm too far gone.

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The Mummy is a weird kind of middlebrow disaster – not such a painful one that it isn’t still sort of fun to watch, but not so much fun that it would register as a camp classic. It just sort of sits there, demonstrably bad and totally clueless about how to tell its story and build its world, but breezy enough that we watch it with half-smirk and half-quizzical frown.

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Time’s up. Put your pencils down.

The past six months of prognostication all boils down to tonight, when the envelopes are opened. As much as Best Picture might feel like a foregone conclusion (and I actually don’t think it is the most certain category of them all), some uncertainties remain. How long are the La La Land coattails?

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When I kicked off Year Six of Projection: Oscar way back on August 31 of last year – nearly six full months ago – I wasn’t sure we’d get here. Just over two months into the season – on November 8, to be exact – I was even less sure. But a funny thing happened on the way to total human extermination: the Oscar season almost functioned as therapy.

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Well, we’ve nearly made it to the end. Which, for me, means it’s time to take a short break from thoughts of what “will” win and think about what “should” win. Time for me to fill out my “Official Oscar Ballot,” offering you an exclusive peek into how I would vote if I was a voting member of the Academy of Motion Picture Arts and Sciences.

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Each year, the three Short Film categories at the Oscars wield tremendous power – which is to say, they tend to make or break a lot of Oscar pools. Predicting winners in these categories tends to be slipperier than so many of the major categories, for a variety of obvious and not-so-obvious reasons. We spend six months parsing all the…

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As we continue down the industry precursor path, the race is appearing to crystallize. Damien Chazelle won the DGA and The Jungle Book dominated the Visual Effects Society Awards. The Cinematographers offered something of a surprise, handing their top prize to Lion’s Greig Fraser.

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