Too many people are taking this as, like, a referendum on grassroots campaigns (or Oscar campaigns in general) when it should be more specifically about how weird this whole thing was

Oh, for fuck’s sake. I guess horror will have to console itself with being the only non-IP genre that makes any money these days, whereas without the prestige that comes from awards shows (such as it is) non-genre movies simply wouldn’t get made. Goth gave a good performance but I wish horror people would get off the…

I know it’s bad to let past films color perception, but Girl just leaves an awful taste in my mouth for me to accept this as anything other than manipulative and gross.

I mean, it’s all arbitrary. Dozens upon dozens of actors give awards-worthy performances every year, and it’s a fool’s errand to try and decide who is “objectively” the best. But validation feels good, whether you’re an actor getting awarded after a long and full career (like Yeoh) or you’re a movie nerd who wants to…

Till wasn’t my favorite movie of the year, but I don’t think it’s at all fair to call it exploitative. The murder itself was not shown, and while Emmett’s body was shown it was in the same spirit as Mamie Till-Mobley demanding an open casket. This isn’t Them-levels of trauma porn.

I know it’s not technically Andrea Riseborough’s fault, but it really is kind of galling how a white woman with a bunch of famous friends was able to get an Oscar nomination for an obscure movie while a Black woman playing the game the “normal” way didn’t.

“Mixed reviews?” Till was pretty universally acclaimed.

I don’t care about nepo babies or whatever, and I’m really glad that we’ll have Cronenberg content for the rest of our lives, but I dunno - so much of what I love about David Cronenberg’s stuff is the restraint, even at its nastiest. Brandon’s stuff seems a little too gratuitous sometimes.

The difference is that everyone was making Westerns, whereas exactly two companies are making superhero movies - it’s technically less, but it means it feels a lot more samey quickly.

It’s always going to be a niche movie, but let’s not act like there isn’t genuine appreciation and passion for the movie. Box office is only part of the story.

What I really liked about this one is that it kinda deconstructs the whole spirited-royal-girlboss trope. Like, The Great is a lot of fun and all, but for all of Sisi’s idiosyncrasies and rebellion it rarely amounts to more than beating one’s wings against the bars of a gilded cage.

This show is emblematic of two persistent, deeply discouraging problems in this age of streaming:

In this post-Succession world, eat-the-rich satire is a dime a dozen - but where else can you find Jennifer Coolidge massacring a group of gay mobsters?

Just like how so many theatrical bombs nowadays are the ambitious projects greenlit pre-pandemic, this seems like part of the panic-pandemic-dealmaking that’s now stuck where it is.

I know, but all of this used to feel good. Maybe it still does to a lot of people, but I can’t help but wish things were different.

Honestly, I’ll take it. Mainstream cinema has become so rigid and sanitized that I’ll take a blast of lol-so-crazy late-00s bullshit.

>Unlike classic Disney, however, the cartoonish villain is replaced by more thoughtful psychological drama

Noooooope nope nope nope. I’ve heard this movie is great and I fully believe it but nope.

Tracy Morgan.

Yes, easily. The difference here is that, unlike Amber Heard, Angelina Jolie is just as beloved as her ex-husband.