Without a host for the second straight year, the 2020 Oscars were neither aggressively boring nor especially memorable.
Joaquin Phoenix used the second half of his speech at the Oscars to mount an eloquent argument against cancel culture.
There was nothing enjoyable, moving, or engaging about ‘Joker,’ which decided to trade an interesting story and compelling characters for a grim tone.
Prepare for Sunday’s Academy Awards by reviewing a year’s worth of Federalist takes on the nominees.
It is refreshing to see the Academy buck the outrage culture crying over “inequality,” and it is a delight to see films we all loved get recognition in a circle that seemed to have been shrinking around more unpopular films each year.
You may not be a space murderer, but if Kylo Ren isn’t redeemable in ‘The Rise of Skywalker,’ the implied message would be that you aren’t either.
Woke critics worry about the film’s sympathetic depiction of a mass murderer, but their real beef is with its indictment of moral relativism.
‘Joker’ is such an original and immersive journey into madness that its distracting comic-book connection could be considered a drawback.
Let’s take a moment to appreciate Herzog by digging into the archives for a tour of his very peak performances.
In this grim noir thriller, Joaquin Phoenix plays the disconnected loner Joe as a sadder and more tragically human version of Robert De Niro’s Travis Bickle from 1976’s ‘Taxi Driver.’
Like 1970s California, ‘Inherent Vice’ sounds fun—until you visit. Then it’s just confusing.
Her is quite the meticulous and creepily seductive criticism of our techno-orientation toward transhumanism.
We’re so conditioned to a world arranged to flatter our idiosyncrasies that we prefer romance that is fake but effortless over one sincere but strenuous.
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