
Copilot movie review: how love warps women’s lives
Tragic anti-romance uses cinematic conventions and the presumptions of fiction to disorient us. Bursts the bubble of a certain kind of movie delusion to highlight a harsh reality of women’s lives.

Tragic anti-romance uses cinematic conventions and the presumptions of fiction to disorient us. Bursts the bubble of a certain kind of movie delusion to highlight a harsh reality of women’s lives.

One of the best documentaries I’ve ever seen. Delightful in its simplicity and profound in its wisdom. Specific yet universal, it’s an empathetic portrait of charming subjects. It’s also really funny.

Two brilliant dramas upend cinematic tropes of male vengeance with precision, patience, and grim humor. These are radical rethinks in emotional maturity surrounding men’s grief, remorse, and shame.

An intriguing story with engaging performances about a compelling real-life character, but oddly inert, and can’t quite make all its many aspects gel into a wholly satisfying or wholly coherent story.

Quietly chilling. A condemnation of supposed propriety over genuine decency, and the sacrifice of children to the illusion of communal cohesion. There are no easy answers here, and no pat resolutions.

Nuanced, sensitive peek into the world of a social-media influencer, with a beautiful central performance. Uncynical and pragmatic about the seachange human society has endured in the 21st century.

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.

“Hunger Ward,” an unvarnished vérité look at starving Yemeni children and the medics trying to save them, best encapsulates the human experience of pain and resilience that all the nominees embody.

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.

As stuffed with soap-opera clichés as its cinematic precursors, but this is nevertheless a solid and diverting rescue procedural… and it’s somehow even more shocking for how mundane its disaster is.