Has the time come to ask if the pendulum has swung too far in the other direction?
Criterion’s disc offers an embarrassment of riches, from the stellar new 4K transfer to a multitude of diverse and fascinating extras.
It’s a lightning strike of glamor worship, melodramatic storytelling, abnormal psychology, and irreducible, airport-paperback frisson.
We’ve ranked all 25 of Justin Timberlake’s singles from worst to best.
Category is “Film School in a Box,” and the House of Criterion earns 10s across the board.
Parasite earned four awards, edging out 1917 for best picture.
A lot can change on a campaign trail in a matter of weeks, days even.
How could the essentially non-political 1917 not arrive as sweet solace in our cultural moment?
The only thing louder than the vroom-vroom of James Mangold’s dad epic is the deafening chorus of “Best. Movie. Ever.”
Oscar has a long-standing history of using the screenplay awards for token gestures, especially toward writer-directors.
The tea leaves are reading that it will be another win for middlebrow respectability.
The path of least resistance and most chronological distance almost always wins here.
Pundits and show producers didn’t quite get the pop star-studded best song lineup that they were hoping for this year.
Luckily for Joaquin Phoenix, he’s not up against anyone playing a real-life individual.
It never hurts to let this academy feel as though they’re just liberal enough.
It’s not difficult to rationalize picking the same film to win both sound editing and sound mixing.
Pitt winning here will seem like the stars are lining up given what went down when he was first nominated in 1995.
There doesn’t seem to be much standing in the way of the triumph of the red, white, and blue neo-Juggalo.
John Williams is in no danger of winning, but a case could be made for any of the other four.
We count down Janet’s 25 greatest songs, from her most iconic hits to her least heralded cult favorites.