Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Corneliu Porumboiu’s documentary is ultimately a paean to (and warning against) expectation.
The tea leaves tell us that this is a more unpredictable Oscar race than most people are perhaps willing to admit.
Isabelle Huppert’s presence feels too colossal for such a small and cheesy film as this.
Chris Hondros sought to reconcile peerless beauty with unfathomable atrocity, and Greg Campbell’s film follows suit.
Martin McDonagh very well may have had this one in the bag the moment Mildred first utters the word “culpable” to the priest in Three Billboards.
Atsuko Hirayanagi’s feature-length directorial debut offers a surprising take on the tricky art of communication.
Ted Geoghegan’s Mohawk is a survival-of-the-fittest film that’s charged with a thunderous urgency.
It’s easy to imagine AMPAS voters watching Icarus and collectively sighing with relief that it’s actually possible for Russia’s hubris to get its just deserts.
Greg Berlanti’s film is a charmingly heartfelt portrait of a teenage boy about to leave the closet behind.
Filmmaker Travis Wilkerson ambles across the heart of Dixie to restore some dignity to a murdered man’s life.
Richard Levine’s film is more of an updated version than a remake of Josef von Sternberg’s The Blue Angel.
Surviving Operation Dynamo would have been a snap compared to having to write about both sound categories for many years in a row.
Director Shawn Christensen’s film maddeningly over-complicates each of its numerous storylines.
Icy absurdism and sorrowful ironies abound throughout Foxtrot, whose laughs stick in the throat like silent screams.
It achieves a strange irony, as its formal abstractions serve to heighten our emotional connection to the characters.
Baby Driver rolls up to the Oscar party as a serious threat in both sound categories, though perhaps less so in this category that tends to favor films that are also best picture nominees.
Sam Rockwell did more on the campaign trail to legitimize unlikely redemption than anything Martin McDonagh gave him to work with.
Throughout the film, nearly every exchange of dialogue sounds like sparring blocks of Wikipedia-like information.
The surprising snub of Fatih Akin’s Golden Globe-winning In the Fade was supposed to make calling the foreign language Oscar much easier.
Mute’s narrative is a self-consciously odd and stillborn mix of missing-person mystery and rehabilitation parable.