You're going to see a lot of bad reviews of Woody Allen's Cassandra's Dream, as I did before I went to see it. But having gone in with lowered expectations, I came out thrilled. I liked Cassandra's Dream a great deal. I went back and looked at some of the reviews, and I couldn't see how what they said related to the film. It seemed that most of the bad reviews were directed at Allen himself, his habits and ideas, or perhaps an expectation of Allen, or an expectation of the crime genre, rather than the film itself. This leads to a complex discussion of Allen's career, which goes much deeper than I'll ever have room for here. But suffice it to say that Allen has had a far more difficult time pleasing moviegoers than he did before he broke up with Mia Farrow and married Soon-Yi Previn.

I am a longtime fan, and in the past I have willingly put myself in the position of defending Allen's work even when there wasn't much to defend. I have written rave reviews only to revisit the films later and realize that I may have been wrong. But I believe he has tried harder, and tried more different kinds of things, in recent years than he did when he was younger and far more popular. I also believe that in the future, Allen's work, like Ozu's or Fassbinder's, may make up a far more coherent whole than it will a collection of individual masterpieces. That said, Cassandra's Dream is the third of Allen's British series. It ignores the previous entry, Scoop (2006), and harkens back to Match Point (2005), which most critics considered a successful comeback and a reinvigoration for Allen. It also revisits the themes that bubbled through Crimes and Misdemeanors (1989), wondering not how one accomplishes a crime but how one deals with the concept of having accomplished a crime.

Over the weekend I watched the last half of the World War II home front drama Since You Went Away in the background while I did some work. There's a sequence in a train station that is so stunningly dramatic it fills in the narrative gaps -- the black and white photography tells the story -- and it made me stop what I was doing and watch it again.

Cinematographer László Kovács worked at the opposite end of the spectrum. His most memorable work from the late 1960s through the 1970s (Easy Rider, Five Easy Pieces, Shampoo, F.I.S.T.) doesn't steal attention from the narrative or make you gasp at its unusual beauty. Instead, Kovács gracefully grappled with reality, using what other photographers would call "mistakes" (lens flares and the like) as a means to integrate the imperfections of life into the varied cinematic visions of the many directors with whom he collaborated. Even when the film as a whole falls short, the art of Kovács is consistent.

The latter part of his career (1980 to 2006) is filled with more populist fare (Ghostbusters, Say Anything..., My Best Friend's Wedding), but Kovács never treated any film as a "cash for hire" proposition, as a 2002 interview with ICG Magazine revealed. He was a consummate professional, always putting the aim of the story ahead of the art of the camera. He passed away on July 21 of this year; Jette Kernion wrote a lovely appreciation of his work.

Kovács will be honored by the Consulate General of the Republic of Hungary in Los Angeles today. Ray Pride at Movie City Indie has all the details. Kovács' friend and fellow cinematographer Vilmos Zsigmond is scheduled to speak. Kovács will also be honored with a screening at AFI Fest next month. Torn From the Flag, on which he and Zsigmond served as executive producers, documents Hungary's struggle for national identity.

More award nominations have been announced! Are you tired of this yet? I must have been hibernating for part of my life because I didn't realize that there were 700 -- I'm over exaggerating just a little -- award ceremonies each year. The members of the American Society of Cinematographers have tallied their votes and the nominees are in.

• Emmanuel Lubezki got a nod for Children of Men. This is only his second nomination with ASC. I say 'only' because he has an incredible body of work. Children of Men was a gorgeous film in many aspects and the rest of his work can be summed up in that same statement -- Y Tu Mamá También, The New World as well as even more extravagant films such as The Cat in the Hat and Lemony Snicket's A Series of Unfortunate Events.

• Dick Pope is receiving his first ASC nomination for The Illusionist. Pope is also responsible for Vera Drake -- an exceptional film.

• Robert Richardson is in the running for The Good Shepherd. This is his eighth ASC nomination. Dare I say it again? Eighth nomination. Rightfully earned though, he's responsible for so many great films since the 80s: Platoon, JFK,Casino and Kill Bill.

• Vilmos Zsigmond has received his third nom for The Black Dahlia. Zsigmond is the veteran in comparison to the rest. His body of work began in the 50s and includes The Deer Hunter and Melinda and Melinda.

• Finally, Dean Semler for Apocalypto. This is nomination number two and makes me curious to actually see this film.

Repeat nominations seem to be the recurring theme with the ASC. Only one nominee is a new-timer to the honoree pool. You can tell who has my vote (Lubezki) but ultimately; I have no say in the matter.