With its melancholy regret and bittersweet nostalgia, this is far superior to the 1986 blockbuster. But as the sun goes down on American imperialism here, the last-gasp celebration of it unsettles.
Cold War propaganda that is weirdly apolitical. Sunny, breezy homoeroticism that is surely unintentional. What a hoot this is! Mostly not in a good way, but its impact on pop culture cannot be denied.
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.
Two new documentaries tell inspiring stories about ordinary women radicalized into revolutionary action, from anti-nuke protests in the 1980s to anti-corporate and anti-corruption activism today.
Dull, earnest fanfic full of halfhearted secret-agent shenanigans and a misguided rethink of Chamberlain the appeaser. Same-old rote, by-the-number World War II–ing we’ve seen countless times before.
An ultra-low-budget marvel, a perspective on societal disruption and disorder as everyday precariousness comes for those previously sheltered from it. Barely speculative, maybe terrifyingly prescient.
Monumental. Villeneuve tells a familiar story with uncommon elegance and pensiveness, even dreaminess, on a breathtaking scale. A stunningly gorgeous, supremely dignified movie about ugly things.
Grim, mysterious, and unsettling, never more so than when it is quiet and still. But a brutality lurks below its calm, slick surface. Oscar Isaac’s performance is a work of astonishing minimalism.
“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.