Whannell’s film consistently struggles to overcome the obviousness of its story construction.
Today we ask ourselves if the wind has blown away from Adrien Brody in this category.
At the SAGs last weekend, it was easy to see how Emilia Pérez’s luck had faded.
This category could end up being a consolation prize for The Brutalist.
This is a category that significantly favors best picture nominees.
Welcome to episode two of “How Many Oscars Will Sean Baker Win in One Night?”
Welcome to the first episode of “How Many Oscars Will Sean Baker Win in One Night?”
AMPAS’s endorsement of one film in this category could have life-saving repercussions.
One film here feels like the natural move for today’s much-more-international AMPAS.
If given the option, voters will break for a lighter or more unambiguously inspirational film.
We’re going to break with tradition here by not rallying behind the period film.
Culkin has practically run the table this Oscar season, and with good reason.
This is destined to be among the best home video releases of the year.
Place here is less important than its function as an allegorical echo chamber.
This German silent drama is a stirring vision of the world gripped by a sinister moral vice.
The film’s sense of evasion is as much a hindrance as it is a badge of honor.
Triet’s film builds a strong case as one of the best courtroom dramas in recent memory.
I Am Cuba’s politics are crude and transparent but poetically revealed.
Jean-Stéphane Sauvaire’s Asphalt City is less a film than a guttersnipe’s wallow.
Diop’s riveting meta-drama receives a series of extras that exalt its wide-ranging themes.