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.
Balagov’s cinematic verve feels like an accomplishment not so much because of his age, but in spite of it.
The Oscars have a long history of awarding war films in this particular sound category.
Luckily for Joaquin Phoenix, he’s not up against anyone playing a real-life individual.
Bet against a message of hope and you may find yourself losing an Oscar pool.
It never hurts to let this academy feel as though they’re just liberal enough.
Another year, another reminder to take our prediction in this category with a grain of salt.
It’s not difficult to rationalize picking the same film to win both sound editing and sound mixing.
Pitt winning here will seem like the stars are lining up given what went down when he was first nominated in 1995.
Every film nominated in this category grapples with the nature of freedom in a world gripped by war and shaped by technology.
There doesn’t seem to be much standing in the way of the triumph of the red, white, and blue neo-Juggalo.
Parasite is a pervasive presence in the news cycle, and at just the right time.
John Williams is in no danger of winning, but a case could be made for any of the other four.
Experiencing the Under the Radar Festival replaces the usual sense of familiarity with a sense of wonder.
Well hi, everybody, it’s nice to see you.
We count down Janet’s 25 greatest songs, from her most iconic hits to her least heralded cult favorites.