If Martin Scorsese loses again this year he will become the director with the most nominations in this category without ever winning.
This year’s “Film Comment Selects” program collects 18 features that span the full spectrum of the cine-world stage.
A sober surrealist, Jean-Claude Brisseau is charting terrain that has been of similar interest to both Catherine Breillat and David Lynch.
We seem to do better at picking a winner when we actually haven’t seen the nominated films.
Theough more ambitious than Morgan Spurlock’s Super Size Me, Maxed Out is also more scatterbrained.
Character trajectories have never come this easy—at least not since Tsotsi last year.
Drew Barrymore and Hugh Grant should work with each other more often.
The film’s lucky-charmed score is one of many subliminal devices in the film: No one better lay a hand on Scorsese’s Oscar.
Aki Kaurismäki is at it again, refurbishing his previous work and pawning it off as if it were new.
The only time a Pixar film has lost in this category was the only time one deserved to win.
Susanne Bier’s new film is beautifully performed by its eager cast.
This vital five-disc set from First Run Features chronicles the struggles and passions leading up to Cuba’s present day.
Unlike The Lives of Others, the film’s study of social conditioning never veers toward cuteness.
In order to settle on a winner in this category it’s perhaps necessary to play the part of Armond White and determine which nominee most flatters the Hollywood elite’s liberal values.
The film is designed to please fans of Soldier of Orange and Showgirls, and perhaps to apologize for their transgressions.
We’re not going to waste your time and make a case for anyone but Helen Mirren in this category.
Running with Scissors now threatens to cause havoc in almost every corner of the globe.
Thanks to Scary Movie 4 it’s impossible to look at a Grudge film as anything other than a parody of itself.
George Hickenlooper’s fascination with the beast of celebrity reaches a gossipmongering low with Factory Girl.
The film is proof that liberal filmmakers can make movies that aren’t desperate manifestations of their political guilt.