It’s best appreciated not with the parts of your brain responsible for reason and judgment.
One of the great mysteries of this year’s awards season is the ultimate fate of Jojo Rabbit.
Beginning with the reversed names in its title, the film announces itself as a distinctly feminine spin on the Grimm fairy tale.
Admirably, Yaron Zilberman’s film focuses on the cyclical nature of violence in a decades-old conflict.
The path of least resistance and most chronological distance almost always wins here.
It’s difficult to imagine Rotterdam as a place where a film festival isn’t taking place at all times.
The film’s occasional gestures toward pseudo-feminist empowerment only compound the hollowness of its protagonist.
The attractional dimensions of Roger Deakins’s work will have no problem finding favor with today’s Oscar voters.
New York, New York, like most Martin Scorsese films, is about the trials and glories of making art.
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.
Li Cheng gets much closer to capturing his characters’ predicaments when he trusts the images alone.
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.
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.