Demy’s film, more than The Umbrellas of Cherbourg, elevates the banal vicissitudes of lives spent dreaming.
When the episode shifts back into the workroom, it’s nothing but apologies and penitence.
The truly depressing thing about a thriller as undercoocked as this is its failure to fly on dark fantasy.
Whatever qualms fans may have about Drag Race’s streamlining, the challenges remain well placed.
The roles the queens play on RuPaul’s Drag Race are best when they touch on the truth inside.
No one in Zach Braff’s Going in Style seems to really know what the hell they’re doing or why.
Two episodes in, and virtually none of this season’s queens have made much of an impression.
Every Republican regime gets the ludicrous devious-baby saga it deserves.
Every opening episode of RuPaul’s Drag Race is, at the root, an orgy of first impressions.
It baits and switches on two disappointing propositions, moving swiftly from the expectedly cliché to the dismayingly derivative.
Wouldn’t it be heartening if the Academy of Motion Picture Arts and Sciences threw a bone to the real world?
Not every category seems to have cleared the decks for a La La Land rampage. But some slates have aroused our suspicions.
There are only three statuses to assign to La La Land’s Oscar chances: all sewed up, highly probable, and Ryan Gosling.
No film has reached the current record for most Academy Awards won (11, at least for the next nine days) without also taking this award.
La La Land editor Tom Cross may even deserve this for cutting dance sequences around Ryan Gosling’s meandering, apathetic dudebro saunter.
We feel involuntarily compelled to speculate on how Denzel Washington could edge out Casey Affleck at the last minute.
If the cutoff music begins to play, we hope La La Land director Damien Chazelle hauls off and just starts scatting.
We can’t quite dismiss the possibility that JT could sneak a win for his highly template-dependent Trolls ditty.
That La La Land composer Justin Hurwitz will have to give an acceptance speech on February 26 is a certainty.
Linus Sandgren’s CinemaScopic aspect ratio is truly among the only elements giving La La Land any scope.