This is what the Oscars playing Russian roulette looks like

As it turns out, even at 91 years old you can still experience growing pains.

That’s the scenario the Academy of Motion Picture Arts and Sciences finds itself in Tuesday, following its unveiling of nominations for this year’s Oscars, the culmination of which was a field of eight wildly varied Best Picture nominees which collectively confirm one thing: The Academy is as clueless as the rest of us about its identity in 2019.

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Top 10 movies of 2018

2018 was a gnarly f*cking year.

I think no matter what your political affiliation, how much time you spend on Twitter or whether you stan DC or Marvel films, we can all agree that that is fact now that it’s over.

Thankfully, we still had new cinema to turn to. To provide us solace, to help us make sense of it all, to provide context for changing times and to make us wish that we had a bucket hat-wearing, marmalade sandwich-munching expatriate helping us to get along with each other.

But perhaps even Paddington was too good for this world.

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Review: ‘Roma’ is a ravishingly realized portrait of loneliness

There was a certain scene in Alfonso Cuarón’s ravishing “Roma” when, for me, it evolved from a gorgeously shot drama into something much, much more powerful; from a gentle giant of a movie into something whose roar can’t be denied. I suspect that point of welcome no return is different for everyone treating themselves to the Mexican auteur’s latest miracle of a movie.

I also suspect that, in a film without agenda but certainly not without rhyme or reason, that’s Cuarón’s intention.

According to him, Cuarón didn’t direct “Roma” so much as live it, having referred to the work as a construction of his memories from growing up in Mexico. He’s not only the film’s director, writer, cinematographer and editor; he’s its autobiographer. Continue reading →