On the occasion of Spider-Man: Brand New Day’s release, we ranked all the films in the MCU.
In the last few years, AMPAS has accorded spots in this category to quite a number of films fixated on death.
The family exposé is by its nature a dicey proposition.
The post-King era of American racial tension demands better from dramatists than lugubrious historical pageants like this.
Ghost Writer suggests a game of chess played delicately and with great precision.
The Good Guy is mostly as generic as it sounds.
The film succeeds only at suggesting the incompatibility of returning-home dramedy and surrealistic flights of fancy.
New York City hasn’t been dissed like this since Woody Allen started making movies in London.
The occasional trenchant idea only makes you more impatient with Romero wasting his time with jokey shadows.
After AMPAS finally threw a first-ever nomination at Werner Herzog two years ago, we thought they might similarly give props to Agnès Varda this year.
the bodies corporeal and politic are one and the same in Morphia.
If you haven’t already, set 10 minutes aside to savor Pictures at a Revolution author Mark Harris’s latest unfailingly insightful demythologizing of the Oscar game.
The most significant exception to Yang’s concern with the present day remains the much lauded but rarely seen A Brighter Summer Day.
Even the weakest of the bunch, James Horner’s predictable but atmospheric score for Avatar, doesn’t stir our bile beyond a simmer.
I atone and once again predict the movie that most liberally cakes it on to win.
The pain in Tokyo Story is beautiful.
Would that Joe Johnston’s The Wolfman were spectacularly awful, then it would have been at least a fun time at the movies.
Harry Potter knockoffs don’t come more transparent and slapdash than Percy Jackson & the Olympians: The Lightning Thief.
The film is about as personal and memorable as a seasonal card your significant other snatches up from a Duane Reade at the last minute.
The film is an infectiously amused, if ultimately slight, portrait of irrepressible wanderlust and child-like curiosity.
Who said writing Romanian screenplays was easy?