The poster knows its movie’s milieu, its genre, and its character’s superficial appetite for, well, everything.
A Best Actress nomination for Mara doesn’t seem likely, either, even with the Golden Globe nod and handful of critics’ honors she’s got under her studded belt.
See below for a list of the films that just missed making it onto our list of the best films of 2011, followed by our contributors’ individual ballots.
The Help represents a pitiful lack of progress, and that’s hardly an indictment of the ways its characters and events are depicted on screen.
No film this year is poised to collect more Academy Award nominations than Michel Hazanavicius’s silent movie about the silent era.
The music of Gustav Mahler is appropriate for the kind of contemplation that Terrence Malick aims to evoke in The Tree of Life.
Understanding Screenwriting #76: The Tree of Life, Bridesmaids, Too Big to Fail, & More
Robert Benton’s graceful and poetic final scene in Places in the Heart does what I think Malick is after even better.
Terrence Malick’s fifth film hadn’t crawled beyond Cannes, New York or Los Angeles before speculation intensified about the director’s future projects.
Life, Above All feels more like a lecture about a problem than a window into a world.
One major reason that Malick’s films are so divisive is that they’re so nakedly emotional, that he’s so blatantly aiming for the sublime.
Terrence Malick’s The Tree of Life never stops moving forward.
With his latest, Nuri Bilge Ceylan is purely interested in slowly unveiling a thematic can of worms that will tear people apart one long take at a time.
It’s fitting that The Tree of Life finds Terrence Malick finally returning to the beginning, travelling back, back, back to the dawn of everything.
Can any critic fully trust their initial reaction to such a thematically mammoth film like Terrence Malick’s The Tree of Life?
This isn’t what I expected. A seven-hour layover?