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.
This minimalist package is a tell that Criterion believes that the films speak for themselves.
You can see just how much benefit the 4K format has to offer grainy, New Hollywood-era films.
Shout! Factory may as well have gone ahead and retitled this 4K release Blackest Christmas.
De Palma’s exquisitely directed slasher gets its finest home video release to date.
The album remains the singer’s most daring effort, one which snuffs out afterglow and imprints itself like a rash on the soul.
Like Rodrigues’s best work, the film never undersells the importance of brains being the most important sex organ.
This release boasts a stunning 4K transfer that boosts Blow Out’s even more stunning images.