Historian Alex von Tunzelmann considers this year’s fact-based Oscar contenders, and argues there’s more to effective cinema than mere historical accuracy: “There is extraordinary power in the moving image. Many of us will know that ‘Braveheart’ (1995) is tosh when we watch it, but years later bits of it may have taken root in our imaginations – and we don’t always remember that they emanated from that great steaming heap of lies.” She also evaluates seven of this year’s Oscar nominees: “12 Years a Slave” passes with flying colors as both history and cinema, but she argues that the factual fidelity of “The Wolf of Wall Street” “undermines its own claim to be satire.” [The Guardian]

Anime veteran Katsuhiro Otomo will be honored for career achievement at this weekend’s Annie Awards. [LA Times]

“Alone Yet Not Alone” songwriter Bruce Broughton talks about his Oscar disqualification, and the inspiration behind the song. [Sibelius]

Mean while, Tim Gray suggests three courses of action the Academy should take to remedy the situation. (I’m not so sure about the third.) [Variety]

Jeremy Kay speaks to David O. Russell and the producers of “American Hustle” about the film’s storied development andf swift production. [Screen Daily]

Jen Chaney argues for the possibility of an Amy Adams upset in Best Actress. I get it in theory, but I’m not buying. [The Dissolve]

As the National Association of Theater Owners calls for a two-mionute limit, Bilge Ebiri writes in defence of longer movie trailers. [Vulture]

Arielle Bernstein on how “Her” presents “one of the most egalitarian and loving relationships” in recent cinema. [Press Play]