Walter Hugo Khouri is an undervalued master.
In years past, we’ve written off this category’s most obvious UNICEF candidates by virtue of their lack of any value outside of insistent efficacy.
On the phone from L.A., the writer-director chatted with Slant about his experience making Rampart.
The Pornographer is exemplary of the Boca do Lixo’s comic style, much of which revolves around fantasy.
The boy wizard’s last hurrah still, however, has a better shot in this category than Midnight in Paris.
Bridesmaids is just glad to be invited, no? A “memorable” quote from the film according to IMDb: “You’re like the maid of dishonor.”
That a now slimmer, totally unfunny Seth has been nominated for an Oscar before McLovin’ is the only kink in a category preoccupied with old men getting real with their feelings.
As long as there’s a Transformers film franchise, there’s a good chance Oscar nominations for special effects are going to be thrown at it like alien shrapnel.
We caught up with Bromberg to discuss what it’s like playing for drugged-up audiences and how the profession of being a touring musician brings out masculine angst like no other.
The Red Light Bandit is an electric, legendary movie, one Brazilian cinephiles know practically by heart.
The most delightfully animated feature in this bunch, Kung Fu Panda 2 is still at best a slab of warmed-over holiday seconds.
We kick off our Oscar winner-prediction coverage this year with the category even AMPAS wants to flush.
It’s certainly ambitious in its attempt to reveal the dark underbelly of much of today’s comedy.
The films we consider historically vital are usually films we can easily see.
There’s something both odd and reassuring that the most hyped young horror director in America today is a full-blown classicist.
The story of Boca do Lixo filmmaking began a few years before any of its movies.
It is as modest and self-explanatory as its lower-case title suggests.
It strives for a handheld immediacy and raw emotional power that it only intermittently achieves.