The film is but one deliberately imperfect piece of a vast slipstream.
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.
Dolittle’s inability to completely develop any of its characters reduces the film to all pomp and no circumstance.
In the end, the film’s perpetuation of the franchise’s endorsement of police brutality comes back to bite it.
Well hi, everybody, it’s nice to see you.
The film evinces neither the visceral pleasures of noir nor the precision to uncover deeper thematic resonances.
Contemporary outrage could’ve potentially counterpointed the film’s increasingly mawkish tendencies.
Nominations for the 92nd Academy Awards were announced Tuesday morning by Issa Rae and John Cho.
VHYes settles much too comfortably into the well-trodden footsteps of other works.
We were so sure that last year’s Oscars would be the last Oscars. Okay, not really.
Its inconsistent, half-baked characterizations would be more forgivable were they at least in the service of some inspired comedy.
The filmmaker discusses the public reaction of the film, bringing it to Emmanuel Macron, and more.
Nikolaus Geyrhalter doesn’t give up aesthetic experimentation altogether in this survey of Anthropocene calamities.
The film doesn’t put in the effort to reach for the heights of Alien or plant its tongue firmly in cheek a la Deep Blue Sea.
Gentrified London is akin to Guy Ritchie’s filmmaking: a characterless mockery of its former glories.