Yeah, that was my reaction as well. I had no idea what to expect going in, but I was impressed at how well the Osage-focused portions walked the tricky line of making a distant time and unfamiliar culture feel both authentic and approachable (I especially loved how Everett Waller’s big speech as Paul Red Eagle both…

i said this elsewhere but it’s also just been a truly INSANE year for movies. like, there are some 5 year periods where we’d be lucky to get either oppenheimer or kotfm, not to mention the tons and tons of other incredible stuff that’s come out.

as far as i’m concerned the ‘win’ was getting 200 million dollars to make the movie and now i can watch the movie whenever i want.

You thought The Holdovers was similar to Von Trier’s Nymphomaniac, only with steampunk frivolity and some wit?

Is it though? It lists several actual classic films (including Thee Deer Hunter) and then tries to gaslight the reader into thinking that they’re not actually classics. 

I’ll grant you that pairing America Ferrara with Kevin Costner and Ray Romano with Keri Russell is dumb, but what’s wrong with pairing Natalie Portman and Florence Pugh?

Me after learning that Christopher Nolan won Best Director for Oppenheimer on Instagram:

Get Jon Peters and his mechanical spider on the line.

So, this is quite a list - I mean off my head, snubs that are obvious:

The Color Purple and AI both arguably center around conceptions of motherhood and womanhood at least to a point. Not specifically about single mothers, but if we’re thinking fractured families and what they do to women, those two certainly come to mind.

Nothing Will can say, nothing Will can do...

My least favorite Rolling Stones song.

“I don’t know what that tune would be, but I know I’m mad about it.”

On one hand, I agree.

Somewhere, deep in the laboratories of Twitter, fifth and sixth-generation Takes are already gestating, scalding in their heat, and in the sheer rush to be wrongest, loudest, set of alleged thoughts about that particular half-minute of TV.

Mike Faist was great too, I thought.

I’ve never gotten around to Monster’s Ball, I guess because I haven’t found myself in such a fine mood that I needed to deliberately torpedo my good cheer.

I’m glad to see some love for Monsters Inc. here; while not as deep or as daring as Pixar’s best, it’s just about perfect entertainment. Sulley’s face when he learns what puce is will never not make me laugh. And the chemistry between Billy Crystal and John Goodman is exhibit A in why actors sometimes really ought to…