This is “content” at its most nakedly bankrupt.
After a while, the film’s bleak atmosphere becomes more grating than unsettling.
The film’s pleasures are ultimately more textural and academic than those of Tár.
The Visitor turns Teorema’s subtext into scathingly funny text.
Visually, the film conjures the same sense of dreamy disorientation of Coralie Fargeat’s work.
Can you blame us for indulging in “humanities major, sociology minor” thought exercises?
The sense of hope in There’s Still Tomorrow feels measured and pragmatic.
We keep coming back here to the same presupposition: that this is Demi Moore’s race to lose.
The film’s open affection for the Looney Tunes franchise has a restorative quality.
Today we ask ourselves if the wind has blown away from Adrien Brody in this category.
With his latest, Dumont leaves the refreshment of the space opera to future practitioners.
Leandro Koch and Paloma Schachmann’s film is a genuine work of ethnomusicology.
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.
It’s hard not to see Dune: Part Two’s sandworm mayhem as being in its own lane here.
The narrative drive of Conclave’s script proves a model for concision and momentum.
The Ice Tower is, ultimately, an aesthetic and nostalgic exercise.
This is a category that significantly favors best picture nominees.
The film is an empowering narrative of one woman who refuses to see age as a ceiling.
The film is a startling vision of two eras shaped in literal and cultural ways by Black people.
BLKNWS zooms across the screen, propelled by the volume and velocity of its ideas.