Blergh. Weeks ago I dreamed a dream where all the particulars of my presently contentious relationship with Anne Hathaway were manifest.
It’s a boon for a short to taste like a flavor of the moment contending for best picture.
Starting tomorrow, check back daily as we predict the winner in every Oscar category.
Steven Soderbergh’s self-professed final film, Side Effects, has reason to resemble a feature-length drug commercial.
The only craft behind the Andy Muschietti film’s scares are their decibel levels.
The film is an earnest but dull portrait of a young boy’s coming of age set during the tail-end of Argentina’s Dirty War.
What’s ultimately chilling about Storage 24 isn’t the horror of the alien’s close-quarters assault.
See below for a list of the films that just missed making it onto our list of the best films of 2012, followed by our contributors’ individual ballots.
The film, still only clearing its throat, hints at a wellspring of emotional riches to come.
Promised Land evinces a pleasing but self-consciously torpid sense of the everyday.
The film uses the tropes of countless horror films and thrillers before it to craft a this-is-what-it-was-like theme-park attraction.
Adapted by playwright David Lindsay-Abaire from a series of books by Academy Award-winner William Joyce, the film asks too much of audiences.
César, it seems, doesn’t like it when people are happy.
Cloud Atlas is a rare film that’s greater than the sum of its often innocuous parts.
V/H/S exudes, sometimes extraordinarily, a neophyte’s sense of courage and cluelessness.
Holy moly, what a setup!
The film is a symphony of giddy terror where people perpetually hide behind masks, both literal and figurative.
It deliberately downplays the anguish of its characters’ resigned lives, and to such an extent that it seems to emanate from a negative void.
![[Rec] 3: Genesis](https://cdn.shortpixel.ai/spai/q_glossy+ret_img+to_auto/www.slantmagazine.com/wp-content/uploads/2012/08/rec3.jpg)
Why genesis? The word implies a beginning, but this third [Rec] film is no origin story.
The film gets by on its yuks…until its fascist punchline about hardline, eye-for-an-eye ethical relativism.