The Case for Best Picture: Joker

Written by Hiram Harrington Full disclosure: I loved Joker. I sat in the cinema, watching it for the first time, and laughed, gasped, and held my breath as much as any director could have hoped for. At this stage of the game, it seems almost gross for me to champion Todd Philip’s Joker. In a

The Case for Best Picture: The Irishman

Written by Barry Murphy There should be no debate around which film should win best picture at the 2020 Academy Awards. The Irishman is the perfect conclusion to one of Hollywood’s most storied careers and is a film so flawless that the only shots that can seemingly be taken at it are concerning its lengthy

The Case for Best Picture: Marriage Story

Written by Alison Traynor The Oscars have always provided an intriguing lens through which an era’s culture can be examined, and this year’s Best Feature contenders are no exception. Joker’s nomination, for example, has plenty to say about contemporary Western concerns, for it demonstrates that a lack of mental health resources is an increasingly serious

The Case for Best Picture: Parasite

Written by Eoin O’Donnell With every new year comes the inevitable period of tribalism that pits all manner of incomparable films against each other like rabid sports teams: awards season. It’s the time where great movies are reduced to one-sentence dismissals and brushed aside like dirt in the hopes of holding up your own indisputable,

The Case for Best Picture: Jojo Rabbit

Written by Ellen Jacob Taika Waititi’s Jojo Rabbit is like Moonrise Kingdom meets The Boy in the Striped Pyjamas with all the wit of a Monty Python sketch. Everything about that description suggests that this film shouldn’t work, but under the masterful directorial eye of Waititi, it does. It has earned 6 Oscar nominations including

The Case for Best Picture: Little Women

Written by Niamh Muldowney Looking at the Best Picture nominees for this year’s Academy Awards, all the films are filled with Big Stories. Be that an origin story for arguably the most iconic comic book villain, a 210-minute gangster epic from one of the most celebrated directors currently working, or a single shot war film

The Case for Best Picture: Once Upon A Time… In Hollywood

Written by Steven Hanrahan What more is there left to say about Quentin Tarantino that hasn’t already been said? Both the man himself and his filmography have been extensively, obsessively scrutinized by cinephiles and ‘film bros’ alike for nearly three decades now, ever since he shot to cult movie infamy with 1992’s Reservoir Dogs. Of