Now following the success of CODA, the 2023 Sundance Film Festival became the topic of far greater anticipation. Given that Apple paid 25 million dollars for the rights to release CODA on its streaming service, film studios responded by bringing deep pockets to this year’s festival. Many of the festival’s popular entries such as Flora and Son and Fair Play sold as high as $20 million to Apple and Netflix, respectively.

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.

Naima’s family struggles to make ends meet and when her father becomes too sick to pull his rickshaw, Naima decides that the only way she can help bring in money is to find work in the big city of Dhaka. One of the film’s most interesting aspects is the authentic portrayal of life in Bangladesh -- from the bustling outdoor markets in the village to the frantic, crowded streets of the city.

“Welcome to Jurassic Park.” The four words that usher in a new generation of visual filmmaking. In that moment, when Richard Attenborough’s character welcomes the cast, and consequently, the viewer, into the park, the impossible becomes possible. For 126 minutes, we, the audience believed that dinosaurs once again walked the earth. They were as real as Jeff Goldblum, Sam Neil, and Laura Dern, who stood beside them.

Cal and Erin struggle to meet the past on their own terms: Cal approaches life from a position of anxiety, while Erin projects tenacity; but they are equally grasping for purchase against the upheavals that have warped what was once familiar. Both performances reveal a slow seething to the surface: Richardson has a severity to her demeanor, which articulates Erin’s determination to rectify old wounds and pay off a karmic debt; while Teague is tortured by his inaction.

Despite the sizable content budgets of streaming video on demand (SVOD) services, consumers are growing more frustrated with SVOD content discovery and subscription fees. SVOD services often require consumers to juggle multiple subscriptions at increasing costs. But on social media platforms, content discovers the user, offering free passive and interactive experiences with near-infinite streams of personalized content that are continuously refined.

Nitram is distinguished by three outstanding but contrasting central performances. Jones has become a screen presence who evinces vulnerability and unease in equal measure, and he is sensational here. Jones conveys an inner world of rage and confusion with tremendous subtlety, lending a tragic gloss to Nitram’s childlike simplicity and blundering attempts at social engagement. It is a frank and fearless portrayal of mental illness left to its own devices.

Gelfand and Roth-Rose have a natural on-air chemistry. Their jokes are quick-witted and the story is well-written. They do a great job of basing the podcast in reality for the first few episodes, allowing audiences an understanding of the history of MoviePass and its founders. In doing so, it allows the ridiculous nature of the story unfolding to feel grounded and based in reality.

The controversy over the Golden Globes continues. But can the Globes make a comeback? In a new Highbrow Magazine video, longtime Highbrow Magazine writer and respected academic Forrest Hartman discusses the ongoing controversy surrounding the Hollywood Foreign Press Association, and wonders when and how the Golden Globes will regain the respect of the industry.

Some have blamed Whedon for the failure of the original film. However, many of the fixes to the film's biggest issues come in the form of the two hours of additional footage. It seems unlikely that Warner Bros. would have approved sending out a four-hour film regardless of which director was behind it. The problem with Justice League was never Whedon or Snyder; the problem was with Warner Bros. itself.