Making this category hard to predict isn’t always the lack of exposure most of the films have prior to being nominated.
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Monogamy, Passengers suggests, is tantamount to existing in a world where nothing else matters outside of the bond you and your partner share.
David Frankel’s film argues that the power of miracles can be manufactured by those who can fund them.
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The film exists resolutely outside of salience and doggedly within the comfort of escapism.
De Palma’s technique reaches a new volatility here.
A significant amount of bonus material featured on the previous DVD release gets ported over to Criterion’s set.
Maybe it’s not the worst thing in the world that Storks doesn’t take many cues from Pixar’s tear-jerking playbook.
Sharon Maguire’s Bridget Jones’s Baby is less a film than it is a series of needle-drops.
This generous presentation of yet another “alternate reality” for a film already lacking solid bearings makes it impossible to ignore.
Sully presses the case that the complexity of the human condition distracts us from the pure dignity of a noble act.
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Todd Phillips’s film is unrepentantly cynical when it comes to the global business of warmongering.
There’s something to be said for a summer movie that offers up Chris Colfer as a misogynist hairdresser.
If Ice Age: Collision Course gleefully fails at being a history lesson, at least it offers an energetic recess from reality.
Much like with Neighbors 2, Mike and Dave’s obvious ace in the hole is its commitment to gender parity.
The album is slack, with perfunctory ideas waiting impatiently for guest stars to enliven them through association.