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When Colin Firth wins the Oscar for Best Actor in a few hours for this role, it will be one of the rare happy concurrences of the actual best performance of the year being recognized by the industry’s highest honor as such.
This year’s Oscar winner for Best Foreign Language Film is a seductive film noir, a lonely love story, a cautionary tale about taking a quest for justice too far, and more…
It seemed like a good thing not to get one’s hopes up too much, because how long can Pixar’s streak of genius and spirit and wonder last? But this is a finale that brings the overarching story to its satisfying conclusion.
Riveting but not exciting, not in the sense that action movies have taught us to get turned on by the foreplay of countdowns and the climax of explosions…
So far, in my 12-plus years as a film critic, Federico Fellini is the only filmmaker who makes me throw up my hands and complain that I just don’t understand, um, all those egghead film critics.
Think ‘guerrilla journalism.’
How did the Pixar folks time it just right to get this cheerful and fantastical yet never unrealistically optimistic movie before our eyes just as we are getting desperate for a movie to hug us reassuringly?
An enchanting movie about love and destiny and honor and perseverance and how a shitload of money cannot ever hope to measure up to them…
Wall-E is practically religion. It’s spiritual in the secular sense, asking us to contemplate the great things we are capable of, and how we so frequently fail to even try to live up to that potential.
Here’s the thing about Joel and Ethan Coen: they can make anything, absolutely anything, intensely profound and deeply weird — and weirdly deep — and cruelly magnificent all at the same time.
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