American cinema at its best
The Brutalist represents a Christopher Nolan-esque swing for the big leagues
Alexander Larman is an author and the US books editor of The Spectator.
The Brutalist represents a Christopher Nolan-esque swing for the big leagues
The movie is facing a vicious and sustained assault on its credentials
He was an actor without sentiment, but with enormous amounts of fierce compassion
His actions over the past few years have shown a breathtaking degree of courage and bravery that it is hard to imagine many of his peers matching
There is a point at which robust debate tips over into something sinister, even disturbing
It’s anyone’s guess which movie will win
For sheer entertainment value, it is the ‘campus trilogy’ of Changing Places, Small World and Nice Work that can hardly be bettered
A promising Marvel movie?
Unless something changes unexpectedly over the next few weeks, the Academy is likely to shun the film, or face existential ridicule
The Oscar-winning director’s name was nowhere to be seen on the movie’s trailer
Stanley Kubrick’s 1975 picture was ridiculed on release. Fifty years later, it is considered a masterpiece
There are a few omissions that may raise eyebrows, some inclusions that are equally surprising
As soon as Michael Gracey’s bold decision was announced, it was met with both incomprehension and ridicule
Everyone will have their own grievances and delights as to this year’s award recipients
Sorry, New York: you’ve got serious competition
After showing the world how interesting an actor he can be, he has retreated deep into an unchallenging comfort zone
The appeal with a film like this is not in its plot twists, but in watching a piece of generic Christmas-themed schlock done very well
A quirky throat-clearer before something more straightforwardly commercial happens next year
We may not want to be on the receiving end of their attentions, but it’s hard not to be seduced, all the same
Its failure mirrors that of American Psycho