No film exemplifies these values better than this year’s Everything Everywhere All At Once. Starring Michelle Yeoh, the film follows a middle-aged woman running a laundromat who discovers the existence of a multiverse filled with thousands of versions of herself. It explores Asian-American identity and serves as a parable of the immigrant experience. Critically and commercially acclaimed, the film has proven an enormous success for A24 -- becoming the studio’s first film to gross over 100 million at the box office – and landing Golden Globe Awards for Yeoh and Ke Huy Quan.

It's hard to pinpoint why we’re here, but it does seem the cachet surrounding awards shows has decreased. This is true despite the fact that shifting distribution models have, arguably, made film awards more relevant than ever to the average viewer. Historically, one of the complaints surrounding movie awards contenders was that some of the most noteworthy pictures got outsized attention before most Americans could even see them. This remains true with select pictures, but things have improved.

The absurdity of the scenes is often complemented by the portrayal of the characters who are deeply flawed human beings, and only have showbusiness as an outlet. Each character’s arc shows how someone’s humanity will clash with the hungry beast that is Hollywood, and Manny’s transformation in particular illustrates this. He becomes Americanized and swallowed by the system as he falls in love with Hollywood and adopts its shallow norms, while his cultural identity is slowly eroded away. 

Yes, Parting Glances dealt with AIDS and that can be a downer (another AIDS movie!?). But Parting Glances had the incredible bravery of existing in the mid-80s, having a frank depiction of AIDS and its effect at the height of the pandemic and in the face of the Reagan administration’s inaction: only five months prior to its release, Reagan finally said the acronym AIDS. It’s a bittersweet rom-com gorgeously written and directed by Bill Sherwood, a gay man himself who would die of AIDS before he could make another film.

One can endlessly debate whether Rock went too far or if Smith’s actions seem like that of an unhinged lunatic or a protective husband. What I haven’t seen is much talk about how the conversation might differ if the demographics of those involved in the altercation were changed. I believe that discussion is fundamental in an era defined by the #MeToo and #BlackLivesMatter movements.

In a new video, Highbrow Magazine Chief Film Critic Forrest Hartman discusses the 2022 Oscars race, and which actor/actress and supporting actor/actress deserve to win the gold. It's a tight race this year, given a number of noteworthy performances: from Andrew Garfield in Tick, tick...Boom! to Jessica Chastain's riveting turn as Tammy Faye Baker in The Eyes of Tammy Faye. The Academy Awards ceremony airs on March 27 on ABC at 8 p.m. ET/5p.m. PT.

Driver’s success is predicated on his ability and willingness to portray emotionally vulnerable men. His career choices indicate his enjoyment of exploring the psychosis of flawed individuals. Take, for example, his Oscar-nominated performances in BlackkKlansman and Marriage Story. Spike Lee’s BlackkKlansman showcased Driver’s deadpan comedic timing, as well as his ability to subtly bring to life the character’s internal conflicts about racism. His character’s body language shifts from that of indifference to that of frustration as he witnesses racism and injustice.

Belfast, which tells the story of an Irish family living amidst the turmoil of the Troubles, received nominations for Best Picture, Best Acting Ensemble and Best Director and Best Original Screenplay for Branagh. The film also received numerous individual acting and technical awards. Likewise, West Side Story was nominated for Best Picture, Best Acting Ensemble, Best Adapted Screenplay, and Best Director.

In his time, Charlie Chaplin was the world’s most recognized face and highest-paid actor. His work in silent films was so prolific that he managed to make successful silent movies years after talking ones took over Hollywood, but his life was also full of controversy. Showtime’s The Real Charlie Chaplin expertly recounts the highs, lows, and secrets of his life with great editing and narration.

In  film,  however,  there  is  only  a  finite  amount  of  content.  You  can’t  just  watch something  unrelated  to  the  story.  The  film  is  the  story.  Bonus  content  and  features  are  sometimes  packaged  with  films,  but  this  optional  content  is  not  as  big  of  a  component  to  the  film  as  open-world  exploration,  multiplayer, or  arcade  modes  are  to  videogames. Anything over  the  top  than  a  sly  reference  will feel  like  advertising,  as  opposed  to  the  slight  nods  to  the  audience  they’re supposed  to  be.