The Japanese auteur’s latest shows nothing more clearly than its untapped potential.
Babylon is progressively feeling like a “circle the wagons” moment for a Hollywood.
Well, now, this is awkward.
For 129 minutes, the defaults to the most pedestrian narrative turns imaginable.
What does it say that the last five rounds have been won by latex-assisted actorly transformations into real-life notables?
Creed III comes down to a draw between its flashes of brilliance and its missed opportunities.
Lack of clarity, it turns out, is what makes Disco Boy so enjoyable, and imbues it with gravitas.
Cocaine Bear suggests a feature-length expansion of an SNL digital short.
The meticulousness of one film’s technical proficiency is the stuff of Oscar glory.
The film carries the almost exotic interest of its milieu as well as deeply personal overtones.
Whether or not Vasilis Katsoupis’s film achieves escape velocity from genre limitations though overt sociopolitical commentary is questionable.
The film is impressive for how it holds its protagonist’s view of the world separate from its own.
Every year the Oscar race blessedly gives us a few free spaces.
The film affectingly captures the uniquely American ennui provoked by the lost utopia of youth.
Sometimes there’s nothing more powerful in a documentary than having the receipts.
The film counters the comic absurdity of its premise with a discomfiting sense of atmosphere.
BlackBerry deflates the personalities at its center in the vein of Mike Judge and Judd Apatow.
Two indisputable trends come to a head in this year’s Oscar race for production design.
Femme taps into the radical possibilities of the sartorial as narrative device.
The film establishes how connections forged in our past take new forms as we change with time.
Bairéad’s first fiction feature is a work of rapturous emotional depth.