In a weird double-dipping twist of fate, the nominees behind Beauty and the Beast and Darkest Hour will be competing against themselves in two separate Oscar categories.
Without question one of the most important Criterion releases of this or any year.
Jonny Greenwood’s florid work on Phantom Thread culminates what, for most Radiohead and PTA fans, has been the ultimate best-case scenario.
To look back at the category’s history reveals that it has swung back and forth between monster latex and regal lace fronts as widely as the nation’s own political pendulum.
Somehow, Katja Benrath and Tobias Rosen’s Watu Wote avoids being the most infomercial-adjacent nominee.
It’s been a while since Criterion fanatics have gotten to decry a new, cash-grabbing title sullying the purity of their home-movie shelves.
Until proven otherwise, we see no reason not to be optimistic about the Grand Pooh-Bah of film prizes’ potential for further underdog surprises.
The film is both meandering and bloated, suggesting the Frankensteinian result of brutal test screenings.
Any potential subtext of Munro Leaf’s children’s book has been bleached out in the marketplace-oriented Ferdinand.
Olive Films easily supplants their earlier release of the film with a vast improvement in video quality and a slew of quality extras.
America is to this day hell-bent on holding Tracy Flick down. But she will have her revenge.
Listen to a playlist of the best singles of the year on YouTube and Spotify.
If Tracy Lord is going to learn how to stop sermonizing from the mount, dammit, she’s going to do so on her own terms.
Bharat Nalluri’s The Man Who Invented Christmas doesn’t seem remotely aware of the scenario’s ultimate irony.
Thor: Ragnarok is the flamboyantly roller-disco entry in an already uncomplicatedly cartoonish side franchise.
This release is among the most jaw-dropping transfers ever encoded onto Blu-ray.
Marshall arguably intends for societal 20/20 hindsight to provide the bulk of perspective throughout.
Gaga: Five Foot Two lacks the momentum and artistic intent that the best musician-centered documentaries all share.
It feels akin to spending 135 minutes being led through an unnervingly well-mounted haunted mansion.
The film is the first masterpiece of what would become an increasingly technocratic ’80s movie-house takeover.