The nominees this time around confront enduring stigmas, draw parallels to our political climate from history, surmise personal and global crises, and collectively challenge their audiences’ worldview.
From its fantastic opening fisheye sequence, it becomes evident that The Fifth Cord is something special in the visual department, and it only gets better from there, consistently wowing the audience with its perfectly framed photography, shot after glorious shot.
With its brilliant, on-the-nose title, you may think that you know what to expect from Robert D. Krzykowski’s The Man Who Killed Hitler and Then The Bigfoot, and while it does contain those two things, at its core, this is a bittersweet love story about an aging war hero reminiscing about the life he once had.
Alita: Battle Angel feels like it was made in 1999, just with a modern coat of CG paint that only slightly brings the film into the 21st century. Perhaps that’s because it’s based on a manga series released in 1990 or because it’s essentially an amalgamation of every other cyberpunk science-fiction picture, but regardless, Alita is a messy endeavor that may push motion capture to new heights but lacks any other identifiable qualities