Oskar, Oskar 

Renee Zellweger shines in this Judy Garland biopic, which highlights the pain and loneliness that so many famous women endure.

There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.

Mirrorball is full of passion and love for the medium of cinema and is indeed a fitting love letter to La La Land.

It’s no wonder Peele won an academy Award for Best Original Screenplay. His script is layered with perspective and subtlety. Through a terrific vision, Peele creates the gift that keeps on giving. The clues and symbolic representations are aplenty, and as each viewing passes, you are destined to find something new. That’s a mark of great cinema.

These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.