Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
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.
It casts its source as a delusional fantasy through which to enact the effects of possible traumas that go completely unexplored.
Another year, another reminder to take our prediction in this category with a grain of salt.
The film largely evades any perspectives that might question the institutions that put our soldiers in harm’s way.
It’s not difficult to rationalize picking the same film to win both sound editing and sound mixing.
The film is but one deliberately imperfect piece of a vast slipstream.
Forky rules.
Brad 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.
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.