Love Lies Bleeding: Her Body Is a Rage

Katy O'Brian and Kristen Stewart in Love Lies Bleeding

The MPA advisement for Love Lies Bleeding informs viewers that the film is rated R “for violence and grisly images, sexual content, nudity, language throughout, and drug use.” Setting aside that certain sickos (who me?) might perceive this notice as an inducement rather than a warning, one vice that the agency declines to mention is smoking—perhaps because the movie itself condemns such behavior. Early on, a woman named Lou pushes play on a portable cassette recorder (the year is 1989); as she half-listens to a health official drone on about the dangers of nicotine addiction, she aimlessly puffs on a cigarette. The obvious conflict between her brain and her body is amusing, even if her inability to quit quickly becomes the least of her problems.

Lou is played by Kristen Stewart, who supplies the kind of earthy, hard-bitten performance that has become the actor’s specialty post-superstardom. Stewart’s naturalism makes her an intriguing match with Rose Glass, the promising writer-director whose first feature, Saint Maud, was a raw nerve of a horror movie, observing a pious caretaker’s descent into madness with unsettling chops. In Love Lies Bleeding, Stewart’s effortless plausibility draws you inside Lou’s orbit and makes you root for her, even as Glass sets about upending her meager circumstances with exuberant chaos. Read More

Dune, Part Two: Getting the Sand Back Together

Timothée Chalamet and Zendaya in Dune: Part Two

We know by now about the Sand Walk—that syncopated stroll across the desert whose arrhythmia helps you avoid detection from those monstrous worms. The irony of Denis Villeneuve’s Dune was that, despite its nominal exoticism, it delivered exactly what you anticipated: eye-popping visuals, grandiloquent design, and sonorous performances, all in the service of a predictable story that vacillated between diverting and tedious. You could be forgiven for expecting its sequel to provide more of the same; Dune was a critical and commercial hit, after all, and Hollywood tends not to mess with success. Yet the intervening years spent wandering the sands seem to have inspired Villeneuve, resulting in a richer and more thought-provoking follow-up. The happy surprise of Dune: Part Two isn’t that it’s good. It’s that it’s interesting.

Some of this may be a natural consequence of the source material; Villeneuve and his co-writer, Jon Spaihts, continue their adaptation of Frank Herbert’s novel, which I’ve never read but which presumably grows in complexity as it progresses. Still, regardless of the underlying inspiration, Dune 2 (or 2une, if you prefer) operates with a level of nuance that its predecessor lacked. The characters in the first movie were largely ciphers, secondary to the colossal world-building that preoccupied Villeneuve’s attention. They now feel like fully rounded people: emotionally fraught, yes, but also persuasively motivated and—in a note that’s unusual for blockbuster cinema—morally grey. Read More

Oscars 2023: Oppenheimer Wins, Show Delivers Decent Kenergy

Ryan Gosling performing "I'm Just Ken" at the Oscars

This year’s Oscars were great, except for the bits that were terrible. Or maybe it was the other way around. Either way, such dissonance is the norm; Hollywood’s annual self-congratulatory gala has never equaled the sum of its parts. Speeches are wonderful and terrible, presentations are inspired and insipid, jokes are cutting and groaning, songs are riotous and wretched. It all adds up less to a unified ceremony than a collection of impressionable moments.

And this year’s Oscars, the 96th in the Academy’s history, delivered plenty of those. John Mulaney turned the rudimentary presentation of Best Sound (featuring a surprise winner!) into a majestic detour about Field of Dreams. Emily Blunt and Ryan Gosling reminded everyone what natural star power looks like. A powerful speech from 20 Days in Mariupol director Mstyslav Chernov (about the atrocities in Ukraine) brought the typically tittering crowd into reverent silence, only for it to later explode with euphoria following Gosling’s rendition of Barbie’s “I’m Just Ken.” John Cena got naked. Read More

Oscars 2023: Full List of Predictions

Ryan Gosling and Margot Robbie in Barbie

Over the past week, we’ve scoured the 20 different feature categories in competition at the 96th Academy Awards. Here, you can find our predictions (and preferences) for all of them, alphabetized by category. (To access the detailed piece discussing any particular category, click on the header link.)

Best Actor
Will win: Cillian Murphy—Oppenheimer (confidence: 3/5)
Should win: Paul Giamatti—The Holdovers
Worst omission: Joaquin Phoenix—Beau Is Afraid

Best Actress
Will win: Lily Gladstone—Killers of the Flower Moon (confidence: 1/5)
Should win: Emma Stone—Poor Things
Worst omission: Park Ji-min—Return to Seoul Read More

Oscars 2023: Best Picture and Best Director

Cillian Murphy and Robert Downey Jr. in Oppenheimer

In ideal circumstances, the Oscar would crescendo to its biggest awards, concluding an eventful and surprising night with a final announcement that’s legitimately suspenseful. That ain’t happening this year. The Best Actress race is a corker, and both screenplay categories are coming down to the wire. But when it comes to the big prize, there isn’t a whole lot of mystery remaining.

To quote one of the best movies of 2023 (albeit not one nominated for Best Picture): such is life. Besides, just because the Academy has already made up its mind doesn’t prevent me from announcing my own preferences. I’m sure you’re excited.

BEST DIRECTOR

NOMINEES
Jonathan Glazer—The Zone of Interest
Yorgos Lanthimos—Poor Things
Christopher Nolan—Oppenheimer
Martin Scorsese—Killers of the Flower Moon
Justine Triet—Anatomy of a Fall Read More