The Playlist

27 Of Our Favorite Onscreen Moments In 2010

  • By The Playlist
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  • December 30, 2010 8:07 AM
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  • 16 Comments
First, we’ll start you off with a warning: there are plenty of plot spoilers within, so if you haven’t seen the movies on this list you might want to do yourself a favor and watch them first before having some key scenes, and in some cases even the ending, ruined for you.

The Best Scores & Soundtracks of 2010

  • By The Playlist
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  • December 28, 2010 4:35 AM
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  • 11 Comments
While 2009 seemed to burst at the seams with numerous ace soundtracks -- largely thanks to new films from Wes Anderson, Spike Jonze, Jim Jarmusch, Greg Mottola and Quentin Tarantino -- unless you were a “Twilight” fan, pickings were a lot slimmer this year for well curated songs in films (though, as you’ll see, there were some definite standouts). However, as if to compensate, composers stepped it up considerably with old reliables like Hans Zimmer, Clint Mansell, Carter Burwell and Michael Giacchino delivering the goods while left field surprises like Daft Punk and Trent Reznor shook up the stodgy old boys club with compelling, highly original work. Here’s the music from films that rocked our iPods in 2010.

Academy Disqualifies Scores For 'Black Swan,' 'True Grit' and Others From Oscar Consideration

  • By Oliver Lyttelton
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  • December 21, 2010 2:40 AM
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  • 9 Comments
The trouble with the Academy awards, and indeed in putting too much stock in them, is that you're relying on the decisions being made by a relatively small, aging group of people. In many ways, things are improving -- Academy membership is getting younger, and it's starting to show: we can't imagine "The Hurt Locker" winning Best Picture even a decade ago. But in some categories, and some branches, there's still a frustrating conservatism at work; the Foreign Language branch, for instance, have a long history of picking safe choices over other, more worthy films.

Weekend Box Office: 'Tron' Saves Face, 'How Do You Know' Doesn't Get To Know Anyone

  • By Gabe Toro
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  • December 19, 2010 6:35 AM
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  • 8 Comments
Are you ready for another “Avatar” experience? No? Well, okay, guess that’s fine. “Tron: Legacy” opened to the same midnight numbers as the James Cameron epic, but failed to equal that film’s general attendance or gross in its first weekend. 'Tron' has been pushed for a couple of years now as a near out-of-body cinematic experience, and an opening south of $50 million domestic isn’t really what you're hoping for when you spend $150 million or so in marketing alone. Enthusiasm should be further tempered when you consider this opening is in the realm of “Paranormal Activity 2,” despite that picture forgoing the 3D surcharge.

The Broadcast Film Critics Association Fetes 'Black Swan' With A Record Twelve Nominations

  • By Kevin Jagernauth
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  • December 13, 2010 3:26 AM
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  • 0 Comments
Here's why awards prognostication is total crapshoot. This past weekend, The Los Angeles Film Critics Association, the New York Film Critics Online and the Boston Society Of Film Critics all collectively creamed over David Fincher's "The Social Network" and of course, pundits used that as evidence that the film is going all the way at Oscar time. Well, until this morning, that is, when the The Broadcast Film Critics Association bestowed a record-breaking twelve nominations on the ballet world psycho-sexual thriller "Black Swan."

International Poster & Trailer For 'Black Swan' Dazzles

  • By Kevin Jagernauth
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  • December 8, 2010 3:20 AM
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  • 0 Comments
Yes, we know, "Black Swan" has already opened but unless you were in one of the 19 cities that kicked off its debut weekend (it expands to 70 screens this weekend), you're most likely going to have to wait until Christmas when the film opens wide in 1000 theaters. And if you're overseas, you'll be waiting until early in the new year for Natalie Portman and Mila Kunis to dance into your town.

25 Iconic Dance Sequences In Film

  • By The Playlist Staff
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  • December 3, 2010 6:05 AM
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  • 10 Comments
Black Swan
Darren Aronofsky's "Black Swan" hits theaters today, and it's easily one of the very best films of the year, and seemingly a culmination of everything that the director's been working towards for years. It's also a rarity, in that it's a serious film about dance -- in this case ballet.

Exclusive: Darren Aronofsky Talks Natalie Portman's "Terrors & Metamorphosis" In 'Black Swan'

  • By Drew Taylor
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  • December 2, 2010 5:42 AM
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  • 0 Comments
Filmmaker Says Ballet Horror Was 10 Years In The Making; Is Glad His Old Boxing Project 'The Fighter' Is In Good Hands It's more than appropriate that when we sat down to chat with Darren Aronofsky, director of this week's flat-out brilliant ballet world thriller "Black Swan," we would do so under a giant framed photograph of Peter Cushing, Christopher Lee, Vincent Price, and John Carradine. The icons of horror seemed to be giving Aronofsky their blessing, and on the eve of his own super-spooky movie, seemed to be saying: "Welcome to the club." He's in good company. And "Black Swan" is a very worthy inclusion in the canon of horror greats.

Review: 'Black Swan' Is The Grandest Ballet Of Darren Aronofsky's Career

  • By Kevin Jagernauth
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  • December 2, 2010 2:47 AM
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  • 1 Comment
This is a repost of a review that ran earlier this year during TIFF 2010. The film is in limited release starting this week.

Exclusive: Darren Aronofsky Still Hopes To Make 'RoboCop'

  • By Drew Taylor
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  • November 30, 2010 9:50 AM
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  • 7 Comments
Darren Aronofsky's "Black Swan," his terrific new psychological thriller set in the world of ballet starring Natalie Portman begins its run into theaters this Friday, December 3rd. It's a dazzling confluence of everything the dynamic filmmaker has created to date -- utilizing the raw Super 16mm look he employed in "The Wrestler," the supernatural elements he displayed in "The Fountain" and the immediate camera movement exerted in "Pi." Portman seems like a shoo-in for an Oscar nomination (rightfully so) and the picture already seems to be deeply impressing most critics (read our review from the Toronto Int. Film Festival).

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