Alfonso Cuarón’s Gravity harkens back to a time in the history of cinema when a film was an “event.”
It’s adept at showing how the slavers’ hateful descriptions of their victims are more than simply demeaning.
Jason Reitman’s film excels in giving the delicate family balance a kind of rewarding poignancy.
The bars in both Closed Curtain and Crimson Gold allude to the cognitive imprisonment of its characters.
Călin Peter Netzer’s Child’s Pose, more than the complicated milieu it depicts, is at odds with itself.
Ben Affleck’s film emerged from Toronto as virtually every pundit’s Best Picture frontrunner, its grand reception topping off a heap of baity ingredients.
The fearless documentation of the enterprise is the heart-stopping cinematic analogue to the crew’s real-world peril.