The Oscars: Special critical accusations postlude

We’re astonished that the entertainment press is still getting mileage out of the Oscars. To us, the Oscars are like “Survivor.” You find out who won? It’s over. Roger  Ebert.jpg

But no: Roger Ebert dissects the “Crash”-lash (Us: There’s a “Crash”-lash?!) which he insists has everything to with a vendetta against a viable (and ultimately successful) best picture contender. A vendetta in which, Ebert asserts, the LAT’s Kenneth Turan and LA Weekly’s Nikki Finke are complicit.

What is intriguing about these writers [Turan, Finke, et al] is that they never mention the other three best picture nominees: “Capote,” “Good Night, and Good Luck” and “Munich.” Their silence on these films reveals their agenda: They wanted “Brokeback Mountain” to win, saw “Crash” as the spoiler, and attacked “Crash”…The nature of the attacks on “Crash” by the supporters of “Brokeback Mountain” seem to proceed from the other position: “Brokeback” is better not only because of its artistry but because of its subject matter, and those who disagree hate homosexuals.”

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(At left: Turan gamely tries to comfort the deeply-insulted Finke.)

For our part, we think since the sum total box office of both these movies amounts to about a quarter of the opening weekend of “Big Momma’s House 2” this might fall into the category of “How many gay cowboys can do the two-step on the head of a pin?”

But we can’t wait to see Finke’s reaction in print.