AVClub: Movies have a long, storied history of self-fascination, and one can’t help but wonder whether part of it has to do with the fact that film sets look interesting—funny, cinematic, equipped with their own frames within frames where the difference between what’s real and what isn’t is hard to suss out. Film begs to lampoon or fetishize itself: the phoniness of props and effects, the background activity of a crew, the graceful glide of a camera dolly. Even Nanni Moretti’s Mia Madre—a minor effort in which the movie-within-the-movie never seems like a real project—can’t help but be riveted by the fake production it’s mounted within itself.
Christopher Nolan’s Oppenheimer walked into the 96th Academy Awards and blew everyone away, winning seven Oscars on the night. But is it Nolan's best film yet?
Cancel all proposed awards ceremonies and hand over the major gongs to Peter Farrelly's Ricky ;Stanicky.
Late Night with the Devil will be The Exorcist for a new generation.