A minute doesn’t pass by during “The Same Boat” where a life isn’t threatened.
The episode plays out during its first half as an elegantly staged prelude to an invasion.
Like its predecessor, Babak Najafi’s London Has Fallen is content to dumbly relish in the inanity of Mike’s rampage.
By the end of the episode, it feels as if only Rick’s motley group of survivors has moved closer to a better tomorrow.
This is a list of our predicted winners at the 2016 Academy Awards with links to individual articles.
An Oscar for Alejandro González Iñárritu is a reward for the return on the industry’s investment.
In this Oscar race, one nominee benefits from nostalgia while another will likely coast to victory because of category fraud.
The film is the cinematic equivalent of watching a Rubik’s Cube noisily solve itself for 90 minutes.
When in doubt, fall back on the most reliable barometer of them all: And the Oscar for most sound editing goes to…
The episode is by and large a necessary, if not exactly radical, pressing of the reset button.
Emmanuel Lubezki’s ornamental imagery for The Revenant signifies nothing so much as the look that $135 million can buy a director.
In a category designed to reward the toil of the writer, a film that celebrates the gumption of writers to expose the hidden truths of the world is already far ahead of the pack.
It’s almost jarring to now see it follow so closely in the comic book’s narrative footsteps.
That Mad Max: Fury Road is only one of five films to ever be nominated in all seven technical categories can’t hurt it’s chances in the visual effects category.
Leonardo DiCaprio will win an Oscar because “being right” is the modus operandi of the average pundit’s investment in any given year’s Oscar race.
We would be remiss if we didn’t point out that rumors have circulated about Son of Saul almost failing to make the Academy’s shortlist.
We must obligatorily forecast this year’s trophy for the production design with the mostest.
The false narrative about the peril posed by The Revenant’s shooting conditions will work against it in categories where the film is most worthy of acclaim.
There’s a sense that The People v. O.J. Simpson wouldn’t have been possible without the success of The Jinx.
Sometimes a nominated film is so formally striking that it has the vanguard vote wrapped up by itself.