Tom Hiddleston and Tilda Swinton are centuries old vampire lovers coming together in Only Lovers Left Alive and writer/director Jim Jarumusch allows their history-filled lives tell an entertaining story of a culture closing in on itself. Read the Review
Roman Polanski's Venus in Fur is a 96-minute breath of fresh air that's as darkly comedic as it is wonderfully fantastic. Read the Review
Mundane, redundant and poorly acted, James Gray's The Immigrant refuses to strive to be anything more substantial than meek. Read the Review
Bookended with impressive emotion, Michael Kohlhaas is lyrical in execution, but the second act causes it to lose much of its overall impact. Read the Review
Alexander Payne's Nebraska is a very well made film with a few minor laughs, but the overall oppressive nature makes it a hard film to entirely enjoy. Read the Review
All is Lost is a monumental achievement in that it ever got made, not to mention that it could turn out this good. Nearly dialogue free and centered on one man as he finds himself alone at sea, a hole in his boat's hull and a violent storm on the horizon. The result is astonishing. Read the Review
With his follow-up to Drive, Nicolas Winding Refn leans more toward his work in Valhalla Rising and in the process becomes artsploitation's answer to Terrence Malick. Read the Review
With The Bastards, director and co-writer Claire Denis has muddled up her narrative to the point much of it is almost incoherent and by the end a complete waste. Read the Review
The Last Days on Mars finds writer/director Ruairi Robinson making his feature directorial debut with a film that's essentially zombies in space. It's well made, but it's hard to get beyond the pedestrian nature of it. Read the Review
Michael Douglas and Matt Damon are extraordinary in Behind the Candelabra as Steven Soderbergh brings us the story of Liberace in a story that's equally dark, humorous and touching. Read the Review
With As i Lay Dying, James Franco delivers some fascinating visual elements, but in the end I didn't much care for the film, but I respected the effort. Read the Review
For a filmmaker like Miike, Shield of Straw (Wara No Tate) should be looked at as an embarrassment. A film made up of D-level action movie cliches with a poorly written script is no way to make an appearance in competition at the Cannes Film Festival. Read the Review
Blood Ties is too big for its own good. Director and co-writer Guiilaume Canet simply runs out of running time and while he does a great job establishing his characters there simply isn't enough room for them to breathe in a film that work far better as a television series than a 144-minute film. Read the Review
James Toback and Alec Baldwin had an idea for a film and they took it to the 2012 Cannes Film Festival in search of funding, Seduced and Abandoned is the result of their search and it's yet another eye-opening look at how the films you see today first found their footing. Read the Review
If ever there was an art film open to the masses this may be the one. The Coens have nailed mood, character and atmosphere with Inside Llewyn Davis and I dare anyone to watch it and not come away with at least a little something to appreciate if not a whole bag full of things to love and talk about. Read the Review
I truly believe Jimmy P. could have been great had it lost its clinical approach to telling its story and opened itself up a little and let us further into Jimmy's life as something lived rather than something remembered. Read the Review
Ari Folman has been working on The Congress for about five years now and it seems the delay in bringing his adaptation of Stanislaw Lem's short story to the big screen is a result of not being able to bring it all together in a cohesive package. Read the Review
Asghar Farhadi has more than lived up to expectations following A Separation. The Past (Le Passe) is an absolute knockout with a fantastic screenplay and five of the best performances you'll see all year. Read the Review
Francois Ozon has manipulated the narrative situations in which Jeune et Jolie is set, it's neearly impossible to take much, if anything, away from it. Read the Review
Fruitvale Station is the first truly great film I've seen at this year's Cannes Film Festival. The directorial debut of Ryan Coogler delivers powerful performances and a story filled with rage, fear and love in bright stripes. Read the Review
Jacques Audiard's Dheepan won the Palme d'Or at the 2015 Cannes Film Festival in a year where there seemed to be several good films, but no great ones.
Lionsgate has picked up domestic rights to Oscar hopeful Genius from Michael Grandage and starring Colin Firth, Jude Law, Nicole Kidman and Laura Linney.
Universal has set an Oscar friendly release date for By the Sea, written, directed by and starring Angelina Jolie along with husband Brad Pitt.
Age of Ultron isn't going anywhere and there's nothing to really talk about, but take a few friends to Ex Machina and I can guarantee you'll have something to discuss.
The Academy is preparing for the future announcing key dates for the 2015 awards season as well as date for the 2016, 2017 and 2018 Oscar awards ceremony.
Best Picture for Furious 7? Vin Diesel thinks so and I think he might be serious... maybe.
It might be foolish, but it's fun, so let's get foolish and take a look at possible Oscar contenders for the 2016 Oscar awards, by looking into the crystal ball and attempting to predict which films will be nominated for Best Picture.
Possible 2016 Oscar contenders Brooklyn and The Danish Girl have both set November release dates.
The 2015 MTV Movie Award nominees have been revealed let by Guardians of the Galaxy, Neighbors and The Fault in Our Stars with seven nominations each.
The Academy is reportedly considering going back to five Best Picture nominees after six years experimenting with as many as ten. Good idea? Bad idea?