The many layers of talent required for this week’s challenge ensure that everyone gets their weakness exposed.
Life of the Party sets up an intergenerational, interfamilial odd-couple buddy-comedy scenario that it never makes the most of.
The library is open, and some reads are long overdue.
Lewk for lewk, this week’s runway challenge is possibly the strongest yet this season.
This week’s challenge forces the queens to improv their way through a segment on The Bossy Rossy Show.
The question of who’s got your back is at the heart of this week’s episode of Drag Race.
Unlike Gareth Edwards’s Godzilla, which benefited from its Jaws-style slow burn, it’s all noise without crescendo.
The Vixen’s refusal to be quiet dovetails off Mayhem’s own ill-advised choice to take one for her team.
The episode’s lip-sync extravaganza eventually turns into a referendum on Eureka’s battle with self-defeat.
Words fail with a masterpiece as hermetically sealed and seamless as Dreyer’s 1928 silent.
If it turned out to be Spielberg’s final film, it would make for a fitting final curtain call for his brand of escapism.
The season premiere of RuPaul’s Drag Race spends most of its time going back to its roots.
What the contents of Faye Dunaway’s envelope taught us is that best picture can’t just be the most safely, inoffensively well-liked film.
Martin McDonagh very well may have had this one in the bag the moment Mildred first utters the word “culpable” to the priest in Three Billboards.
Surviving Operation Dynamo would have been a snap compared to having to write about both sound categories for many years in a row.
Sam Rockwell did more on the campaign trail to legitimize unlikely redemption than anything Martin McDonagh gave him to work with.
Gary Oldman’s assured win over the two main critics’ favorites, Timothée Chalamet and Daniel Kaluuya, represents an unabashed retrenchment that’s entirely off brand in this Oscar year.
Here’s one prize at least that will ensure that Phantom Thread, Slant’s favorite film of 2017, won’t be wearing the emperor’s new clothes.
You’d be hard pressed to find anyone who didn’t feel as though Baby Driver reached out to them directly from the screen to ask if they would care to have this dance.
At the Oscars, uplifting social-justice dirges have become during the current decade what Alan Menken and Stephen Schwartz were to the ’90s.