The New York Times film critic sees "The Revenant" as typical Oscar bait.
Known for his witty New York Times film reviews, A.O. Scott expands on the art of critique in his latest book, Better Living
Journalists Remember New York Times Columnist David Carr As 'Brilliant,' 'Champion,' 'Guardian Angel'
Washington Post media reporter Erik Wemple, a former senior editor at WCP and friend of Carr's, also looked back fondly on
Becoming more self-aware in the process of aging is the hard earned prize of our adult lives. It's what gives and will give us the authority to speak with conviction to younger generations. It doesn't make us children.
Scott isn't the only film critic who's panned Sandler's new film, which also stars Drew Barrymore. In a review featured in
Since Lee's post was published on Monday, Scott took to Twitter to respond: On Sunday, Scott published what Lee took to be
Jared Leto played Rayon like a man, further confusing the public who both conflate gay with trans in general, and drag performance with the lived reality of the typical trans life.
The 1990 film "Miller's Crossing" is now considered a classic by many. At the time of its debut at the New York Film Festival
Tarantino has replaced "Happiness" with "Vengeance." The idea that vengeance is as all-American as the Declaration of Independence is one of the defining ideas of the Hollywood Creed, as depicted in the earliest days of films such as, well, Birth of a Nation.
The behavior of a woman who appears on the public stage can be counted on to provoke a contentious referendum on the state of women in general. Is this good for women?
PHOTOS: "The Avengers" and 29 Other Summer Movies Whether Jackson is unhappy with the moderately negative review Scott gave
Just when you start believing there's no hope for anything daring and original coming out of Movieland, something gets released that surprises you. The Artist is one such movie -- and what's new about it is that it's old.
I continue to be nostalgic for comedy that doesn't require constant profanity or a surfeit of fart gags to succeed, that relies instead on subtle, clever scripts and witty dialogue; movies that in the end give their audiences some credit for brains and taste.