This 60-year-old story of pursuing a dream with resolute kindness could not feel more fresh in its knowing class clash. Lesley Manville is an absolute treasure, her command of comedic pathos supreme.
Full of honesty and humanity, utterly lacking in shame over a basic human need, the female experience of which is almost universally ignored onscreen. Light, funny, diverting. So why was I bawling?
Steady your heart palpitations: it’s the same old era for the nicest feudal hangover. The delusional reactionary fantasy of wealth and privilege for some, cheerful servitude for others remains intact.
Wounded veterans in reluctant-buddy road trip. Allegedly a comedy, but I don’t see much evidence for that. The schmaltz may be slightly more convincing than the comedy, but it’s a low bar to get over.
Apocalyptically sorta-satirical, bone-deep terrifying slap in the face that humanity has properly earned. Formidable, intense… and funny, in a very dry way that is nevertheless difficult to laugh at.
Fresh, raw, wielding physical and psychological intimacy like a shiv, this is a deeply compelling, empathetic emotional roller coaster fueled by McAvoy’s and Horgan’s intense and cutting performances.
Pure joy. It is singing and dancing, life and love, food and family, heritage and community in all its complexity. Harnesses Golden Age Hollywood verve and style in breathtaking, enrapturing ways.
The brilliantly unsettling “Two Distant Strangers” is not only the most important of the nominees but one of the movies of the year, of any length. Its surprises are more brutal than mere plot twists.
I don’t see how the astonishing “Opera,” by Erick Oh, doesn’t win the Oscar for Best Animated Short. This is a stupendous achievement, a cartoon clockwork depicting life, the universe, and everything.
A wonder of emotional claustrophobia and narrative economy. Rachel Sennott is delightfully caustic in this painfully poignant, dryly funny portrait of a deeply awful moment of young adulthood.