The film doesn’t aim to condemn the fools who believe racism in America has ended, but rather open a vast discussion of how the subject of race in our country has evolved.
The Nymphomaniac actor talks with us about religion, his “limited experience” with S&M, and a certain “floppy dick.”
It’s surely a celebration of a land’s distinct creatures and the people who live among them, but also a culture’s biting auto-critique.
As quietly, meticulously handsome as the film is, there’s precious little juicy subtext to its design, and in the end, it’s not much more than a tragic vigilante tale for the art house.
The Grand Budapest Hotel director obliged us by sharing his fascination with making movie storybooks.
Like anyone who’s been covering what’s become, as the party line goes, “the closest Best Picture race in recent memory,” I’ve gone through many mental rewrites of this top-prize breakdown.
The latest collaboration between director Jaume Collet-Serra and star Liam Neeson is made with far more care and visual detail than you might expect.
This past weekend, Gravity claimed the Live Action Film award for sound mixing from the Cinema Audio Society, one more precursor voting body whose results could prove prescient when it comes to Oscar’s March 2nd endgame.
Omar is unmistakably political, but he insists that he aimed to sideline politics in the Oscar-nominated film.
Shockingly, the violent release of smoke, fire, and meteoric debris is positioned more as a climactic afterthought than as the main attraction.
If there’s anything with even the slightest ability to nudge Cate Blanchett’s path to Oscar victory off course, it’s the seemingly endless Farrowgate scandal.
In case you haven’t noticed, Kevin Costner is in the midst of what could be a major career resurgence.
Shana Feste’s film seems blissfully unaware that great fights require truly substantial conflicts.
As was recently reported by the hive of Oscarologists over at Gold Derby, American Hustle has history on its side when it comes to the acting races.
Today, A24 released its first U.S. trailer for Jonathan Glazer’s latest.
If you ask me, though, it’s easily the most repellant of all 24 lineups, and one of the more shameful nominee crops in recent Academy history.
Appreciation of the film lies, perhaps aptly, in the pieces built on a pillaged foundation.
One of my favorite things about recalling my movie-watching past is considering the ways I viewed certain films through younger eyes.
Tomorrow, the WGA will announce its 2014 award winners, and whichever scribe(s) waltz off with the Original Screenplay prize may do the same on Oscar night.
Its obsession with male genitalia, or, more specifically, penis receptacles, is emblematic of its aura of male entitlement and its consideration of women as prizes to be lanced.