This is “content” at its most nakedly bankrupt.
One film here feels like the natural move for today’s much-more-international AMPAS.
Huo’s second feature is attentive to the everyday rhythms of rural communities.
Anya Taylor-Joy and Miles Teller meet cute at the gates of hell in uneven action-horror yarn.
In the home stretch, Zoe Saldaña has emerged as this Oscar season’s prime sympathy vote.
Mercifully, the jaggedness of the dramatic scenes doesn’t extend to the action.
Rankin discusses why he rejects the idea that fakeness in cinema is inherently bad.
If given the option, voters will break for a lighter or more unambiguously inspirational film.
Almost by default, this feels down to the most esoteric nominee of the bunch and the simplest.
Would that Rounding’s story were as memorable as its sense of detail.
We’re going to break with tradition here by not rallying behind the period film.
It presents all the complex and seemingly contradictory emotions of a forced life on the road.
It will probably come down here to the contenders that grapple with familiar foes.
The festival’s curatorial boldness has never felt so necessary.
Culkin has practically run the table this Oscar season, and with good reason.
Monstro Elisasue will take one more blood-spewing bow here.
Abbott discusses the merging of character and self and how the film fits into his career arc.
The film is startlingly earnest in having Quan play both to and against type.
Dibbern and Larson discuss how writing about film led them back to writing about themselves.
The film’s particular genius lies in a very consistent use of off-screen space.
Tony Benna’s film is a consistently hilarious look at the ridiculousness of living with cancer.