If it doesn’t seem to carry the heft expected of a film of its standing, the pillowy lips of its two leads make up the difference.
Bonnie and Clyde the movie was taken as nothing short of a cinematic revolution in 1967.
Keep your eyes off the sparrow and on the road ahead.
Charles Bronson gets screwed over so many times that the film loses track of its internal timeline.
I have no trouble embracing the studio’s biggest bitch of them all.
Enter Cruella De Vil, and what an entrance.
Despite some satisfyingly gut-busting moments, the film retains a very British stiff upper lip.
The film never really pays off, at least not politically, on the promise of its opening credits sequence.
Erkyah Badu’s New AmErykah: Part One is some cracked, urgent, just plain weird boho avant shit.
Though we’ve kicked EW’s Dave Karger’s teeth in when it comes to the overall number of correct predictions for the last few years, our track record has unfortunately not extended to the Best Picture category.
I don’t mean to speak for Ed here, but this wouldn’t be the first time we’ve started pulling back and rethinking the momentum of our day-by-day Oscar-winner forecasts.
In all the hubbub about Kevin O’Connell’s 20th nomination, no one has brought up the fact that the sound mixer’s co-nominee for Transformers, Greg P. Russell, has 12 winless nominations under his belt as well.
Not every tech category where No Country for Old Men and There Will Be Blood are facing off will settle in either of their favor.
The film suggests the glamour of idealistic suicide, whereas Weekend embodies the residual rage of someone who couldn’t seal the deal.
The transfer on this release is as tight as 25-year-old French ass wearing a new pantyless girdle.
If we learned anything last year, it’s that the more independent-minded the nominations, the more disappointing and reactionary the likely winner.
Philip Seymour Hoffman and Tom Wilkinson will probably have to settle for the knowledge that their performances would’ve been slam dunks at the Emmys.
For the second year in a row, this category has given the majority of its nominations to a single movie only to give the award to a different one.
I’m not going to lie: With these movies I expected the Lubitsch touch to at least cop a feel.
There’s obviously a certain bloc of voters in the Academy’s visual effects branch who loved seeing CGI open up a world of animal-on-animal violence.