A vital, confounding, surprising, confrontational collection of underappreciated American films.
The filmmakers were clearly grooming Warren Beatty as a fresh new Method-acting Boy Wonder, and his performance is a genuine oddity.
Natalie Wood and Warren Beatty fight the good fight.
At least this time around they don’t solicit guest appearances from fucking Liam and Noel Gallagher.
The film stands up on its own as a well-oiled, brilliantly-edited example of new-school, Spielberg-cultivated thrill-craft.
Back to the Future Part II is the vulgarity of postmodern pop culture in microcosmic form.
It ain’t only the DeLorean that’s out of gas.
Back to the Future is one of the rare big-budget entertainments that’s improved with time.
For anyone who ever wanted to see Michael J. Fox playing Tracey Ullman, there’s Back to the Future Part II.
Doc Brown’s threatened time paradox is no match for the final installment’s dreary life lessons.
As the presence of The Curious Case of Benjamin Button (which was snubbed in the other sound category) would attest, Sound Mixing is the category that far more obviously favors best picture players.
When trying to figure out what will win the sound awards this year, it’s probably best to ignore or at least downplay the two p’s.
The traditionalists view this as the “Best Picture-elect” category.
Let’s not make this category any more difficult than it has to be.
Dear AMPAS directors’ branch, we’re done now.
Taking Kate Winslet out of the equation seemed to turn this category into a dream scenario: an Oscar ripe for the taking in a veritable five-way contest.
Even more surprisingly poignant and intelligent upon repeat viewings, Otto is attractively rough around the edges.
Are screenplays of acclaimed stage plays adapted by the authors of the original works cursed when it comes to Oscars?
To quote Homer Simpson, it seems everything is all wrapped up in a neat little package.
No fuzzy, talking animals can possibly and unexpectedly tip this year’s Visual Effects contest like they recently did.