The most famous of all Ingmar Bergman’s films receives a spotless 4K presentation.
The late Joan Micklin Silver’s star continues to rise thanks to Criterion.
The film is a tranquil nocturne compared to the scherzo standards of German expressionism.
And so we come to the conclusion of our annual month-long existential cosplay.
Really, who are we kidding?
Who’s your new zaddy crush?
With this category, we realize that precedent is increasingly illusory.
We’re having a lot of déjà vu this year.
Second verse, same as the first.
Babylon is progressively feeling like a “circle the wagons” moment for a Hollywood.
What does it say that the last five rounds have been won by latex-assisted actorly transformations into real-life notables?
Every year the Oscar race blessedly gives us a few free spaces.
Two indisputable trends come to a head in this year’s Oscar race for production design.
Only one short here gets to have its My Octopus Teacher cake and eat it too.
We begin, as we always do, with the categories that are actually fun to predict.
These films feel like the works of someone who had yet to truly find their own voice.
The Italian Job is a raucous, riotously funny exemplar of Cool Britannia at its coolest.
There’s every reason to expect Oscar to keep on Oscaring as it’s always done.
The film remains a conscientious depiction of the bitter realities of race in America.
There are only clichés in the rise-and-fall material of Kasi Lemmons’s biopic.