In my introduction to last year’s Oscar predictions, I refer to the 2017–18 awards season as “one of the most tumultuous” in recent memory, a superlative that would almost seem too weak when discussing the events of this year. Each
The film’s greatest asset is its ability to convey the lively spirit of the conversations without feeling selective or artificially emphasizing points, beyond spare bursts of archival footage or the occasional question posed from Michell himself.
Cold Water is an absorbing, pensive look at what such desires feel like on the inside, with its handheld close-ups on faces and careful observance at objects and structures, as if to seek answers from everything in equal measure.
Operation Finale is the historical film at its most safely crafted, even as individual production elements, such as Alexandre Desplat’s pushy score – heavy on everything from marimbas to choirs – suggest departures from a cookie-cutter approach that aren’t reflected onscreen.
As we finally expunge the traumatic memories of The Kissing Booth from our minds, Netflix has delivered To All the Boys I’ve Loved Before, a teen comedy just as formulaic, but significantly less appalling.