Somehow, Katja Benrath and Tobias Rosen’s Watu Wote avoids being the most infomercial-adjacent nominee.
Our gurus of gold are in agreement that Garden Party has set a new bar for photorealism in animation.
It seems like Ari Aster’s feature-length directorial debut is being marketed as less miminalist in the horror department than both The Witch and It Comes at Night.
Oscar nominations were announced Tuesday morning, with Guillermo del Toro’s The Shape of Water leading the way with 13 nominations.
Until proven otherwise, we see no reason not to be optimistic about the Grand Pooh-Bah of film prizes’ potential for further underdog surprises.
Last night during the Golden Globe Awards, 20th Century Fox premiered a new trailer for the spy thriller Red Sparrow.
Justin Timberlake’s new single, “Filthy,” is more a mood than an actual song.
This list comprises most of what we do best: incisive critique of film, TV, and music, awards soothsaying, and listology.
In a Slant exclusive, the makers of I, Tonya discuss the importance music played in the film.
Listen to a playlist of the best singles of the year on YouTube and Spotify.
See below for a list of the films that just missed making it onto our list of the best films of 2017, followed by our contributors’ individual ballots.
MacLaren elaborates on her decision to rhyme a character’s slow walk down a corridor with a scene from the show’s first episode.
Icelandic pop goddess Björk has released what is, perhaps, her most melodic song in years with “Blissing Me.”
“Walk on Water” is both contemplative and combative, offering a glimpse into Eminem’s creative process.
Swift pays homage to sci-fi and anime in her new music video.
The trailer for Paul Thomas Anderson’s eighth feature-length film dropped less than 30 minutes ago and cinephiles are already frothing at the mouth.
Assassin’s Creed: Origins makes Assassin’s Creed feel like a completely new series for the first time in 10 years.
The new music video for St. Vincent’s “Los Ageless” is a vibrant, sci-fi satire of Hollywood superficiality.
The influence of Akira Kurosawa is very much evident in the ornate clip from Wes Anderson’s new film.
If possible, the singer seems even more vulnerable than ever on “The Gate.”