'Oscar Nominated Shorts 2020: Live Action': Film Review

For any Lin-Manuel Miranda fans whose hearts sank almost as quickly as they rose upon hearing that, yes, there’s a “Hamilton” movie, and no, it won’t be out for another 20 months, succor may be on the way in the form of a probably faster-arriving movie that features Miranda in almost as big a role, playing himself.

There’s a monster terrorizing screenwriter/co-director Jeremy Gardner’s protagonist in “After Midnight,” and he doesn’t know why, what it is or where it came from. After 83 minutes, we still don’t know, either, but at least it has become clear this is one of those films that “defies categorization” by identifying with a marketable genre it’s nonetheless not really interested in.

Lara Jean Covey is someone I would have Mean Girl-ed in high school. The chick is a straight-up wiener.

No 2020 Oscar category can boast a higher level of quality — or diversity, for that matter — than the animated shorts, and though the five nominees are among the least-seen (especially this year, when ShortsTV’s theatrical program released just nine days before Oscar night), film buffs would do well to track them down all the same.

Landlocked by South Africa on all sides, the kingdom of Lesotho is a place of high skies, wide landscapes and narrow prospects for its two million inhabitants: a set of dimensions somehow captured in every exquisitely constructed, square-cut frame of “This Is Not a Burial, It’s a Resurrection.” A haunted, unsentimental paean to land and its physical containment of community and ancestry — all endangered by nominally progressive infrastructure — this arresting third feature from Lesotho-born

Pitchfork is honored to announce that Contributing Editor Rawiya Kameir has been nominated for a 2020 National Magazine Award. She’s recognized in the Essays and Criticism category for three reviews: Ariana Grande’s thank u, next, Lizzo’s Cuz I Love You, and Kanye West’s Jesus Is King. The winners will be announced on March 12. Find the full list of nominees at the American Society of Magazine Editors website.

A leisurely, somewhat hazy travelogue compared to the piercing political indictments of his acclaimed prior “We Come as Friends” and Oscar-nominated “Darwin’s Nightmare,” Austrian documentarian Hubert Sauper’s new “Epicentro” looks at Cuba on the brink of colossal transition, as the old Communist system is in its apparent death throes, and free-market capitalism waits in the wings. It’s a fascinating moment for cultural stock-taking.

Jane Austen has been through a lot on screen in recent years.

Improvisational theater is described at various times in We Are Freestyle Love Supreme as an adrenalized, unsafe situation and a unique communion among the performers and the audience. That excitement and immediacy comes across in Andrew Fried's lovingly assembled documentary record of the hip-hop improv group's 15-year evolution.

Some years, the short films nominated for Academy Awards make a well-rounded, coherent program; other years, they feel like a random grab-bag.

Given the ever-shrinking barrier of what constitutes a feature-length film in arthouses, two of the films competing for this year's Documentary Short Oscar only barely qualify for the category. Shown back to back in a theatrical setting, they represent the least inviting of the four touring Oscar Shorts programs this year, however worthy their subjects.

Despite including a predictably high percentage of studio product (two out of five), this year's batch of films competing for the Animated Short Oscar are more adventurous than usual in terms of technique and style, appearing to employ yarn, clay and papier-mache in addition to the usual pixels and ink.

It’s exciting, and fascinating, to see a great director of documentaries try his or her hand at a dramatic feature, since in theory the essential skill set should all be there. The best documentarians possess an acute visual sense, and they are all, of course, potent storytellers.

Sultry music swells as the camera swoons over a young couple in a tender nighttime embrace. The 1950s residential New York City street is carefully rain-slicked and lined with shiny classic cars: an obvious stage set.

There’s mannered, there’s manic, and then there’s the malfunctioning pinball-machine delirium that Ben Whishaw brings to “Surge”: a blinking, buzzing, flashing clatter of hyper-accelerated impulses, chicken-fried synapses and staggered hypnic jerks that never culminate in sleep.

Inventor Nikolai Tesla is more popular today than when he died penniless in a New York hotel in 1943. Back then, he was the futurist who swore he could summon unlimited, clean, wireless electromagnetic energy from the earth — a neat idea, but surely coal and oil were fine.

Actress Romola Garai makes a distinctive feature directorial debut with “Amulet,” even if this upscale horror drama is ultimately more impressive in the realm of style than substance. It’s some style, though: She hasn’t just created a stylish potboiler, but a densely textured piece that makes for a truly arresting viewing experience to a point. A shame then that the film succumbs somewhat to the more pretentious and silly aspects of Garai’s initially cryptic puzzle of a script.

At the risk of overselling Edson Oda’s ultra-original, meaning-of-life directorial debut, there’s a big difference between “Nine Days” and pretty much every other film ever made. You see, most movies are about characters, real or imagined, and the stuff that happens to them, whereas “Nine Days” is about character itself — as in, the moral dimension that constitutes who a person is, how he or she treats others, and the choices that define us as humans.

Imagine a high-ratings, high-stakes game show that trivializes a convict’s life-or-death fate for public consumption. As wild as it sounds, a version of this reality TV entertainment apparently really exists in modern-day Iran, where writer-director Massoud Bakhshi’s “Yalda, a Night for Forgiveness” is set, and where a wildly popular edition of it has been airing for nearly a decade.

The creator of Netflix comedy Dear White People has said he is not surprised by a lack of diversity in recent Oscar nominations.