We take a look back on the music that defined one of the most definable of decades.
The filmmaker discusses her elliptical approach to filmmaking and how she compels our active spectatorship.
Consider this project part cathartic exorcism and part sheepish capitulation to the role the Oscars have played in our lives.
How could the essentially non-political 1917 not arrive as sweet solace in our cultural moment?
On the occasion of the release of Birds of Prey, we ranked the seven titles in the DC Extended Universe from worst to best.
Given the academy’s long history and resurgent embrace of technical triumphs, we’re not holding our breath for an upset here.
The only thing louder than the vroom-vroom of James Mangold’s dad epic is the deafening chorus of “Best. Movie. Ever.”
As the series comes to a conclusion, we take a look back and rank all 77 episodes.
One of the realities of the Oscar race is that you never want to peak too early.
Oscar has a long-standing history of using the screenplay awards for token gestures, especially toward writer-directors.
Oscar voters are suckers for scale, throwbacks, ostentation, and, above all, a sense of prestige.
The tea leaves are reading that it will be another win for middlebrow respectability.
One of the great mysteries of this year’s awards season is the ultimate fate of Jojo Rabbit.
The path of least resistance and most chronological distance almost always wins here.
It’s difficult to imagine Rotterdam as a place where a film festival isn’t taking place at all times.
The attractional dimensions of Roger Deakins’s work will have no problem finding favor with today’s Oscar voters.
Busch discusses his latest comic tearjerker, an homage to a rather unknown spate of movies from the early 1930s.
Pundits and show producers didn’t quite get the pop star-studded best song lineup that they were hoping for this year.