10 Moms That Will Make You Even More Grateful For Yours This Mother’s Day


With Mother’s Day just around the corner, we’re all feeling grateful for our beloved moms. But just in case you weren’t, we decided to round up 10 of Hollywood’s most horrible mothers to make you extra happy about yours. Afterwards, we think you might want to reconsider being stingy on your gift this year.


Joan Crawford in Mommie Dearest



Who can forget Hollywood’s most iconic bad mom? Starring Faye Dunaway as Joan Crawford, Mommie Dearest is supposedly the real life depiction of growing up with Joan. All I know is, never use wire hangers — or else.


Mrs. Bates in Psycho



Oh, mother. Norman Bates’ mom in Alfred Hitchcock’s 1960 thriller, Psycho, kind of gets an unfair rap. Sure, the lady raised a serial killer with a serious Oedipus complex, but she’s not the real murderer in the film. Spoiler alert: Norman is — he just has a split personality and kills to please “Mother.” In reality, she was his first victim.


Margaret White in Carrie



Margaret White is the hyper-religious, seriously abusive and totally disturbed mother in Carrie. Not only does she eventually try to kill her daughter, but she also kept her locked in a tiny closet for most of her life. But don’t worry kiddos, ol’ Maggie gets hers in the end, when Carrie telekinetically kills her.


Kate McCallister in Home Alone and Home Alone 2: Lost in New York



Kate McCallister from the Home Alone franchise left for vacation and forgot her son not once, but twice. Luckily, Kevin was practically an evil mastermind, and really good at forging weapons from household items.


Mrs. Vorhees in Friday the 13th



Mrs. Vorhees from the Friday the 13th movies could actually be considered a good mom, depending how you look at it. Yeah, she’s a mass murderer, but only because she wants vengeance for her son Jason.


Other Mother in Coraline



Talk about the grass being greener. When Coraline get sick of her mother’s incessant nagging and busy schedule, she ends up finding comfort in an alternate universe version of her mom called her “Other Mother.” Of course, Other Mother is actually a monster who lures kids to her world by being a perfect mom. Then she steals their souls.


Gladys Leeman in Drop Dead Gorgeous



Gladys Leeman will do anything for her daughter Becky in the 1999 dramedy Drop Dead Gorgeous — even kill her fellow beauty pageant contestants. But aside from being a ruthless killer, I imagine she was also a really awful stage mom.


Zinnia Wormwood in Matilda



Poor Matilda. She’s stuck with The Trunchbull at school and at home, she’s got Zinnia Wormwood for a mother. The self-centered (and generally shady) mom doesn’t let Matilda do anything. Her one redeeming moment is when she gives the kid up for adoption. But that’s only because her and her husband were trying to evade the FBI by moving to Guam, and didn’t really want to take her.


Mrs. Loomis in Scream 2



Like Mrs. Voorhees, Mrs. Loomis could also be seen as a good mother. Well, not really. But no one can say she wasn’t dedicated. Yes, she did leave Billy while he was in high school, but eventually returned to seek revenge on Sid after his death. “Was that a negative, disparaging remark about my Billy?”


Max Conners in Heartbreakers



Heartbreakers is about a mother-daughter con artist duo who marry old men to inherit their money. So, yeah, probably not the best mom to begin with. But when her daughter Page actually falls in love, Max decides to seduce him. Why? To prove no one loves Page but her. Because yeah, that makes sense.


So, even if you’re not totally crazy about your mom, be happy that she’s not just totally crazy. Or, you know, a serial killer. Happy Mother’s Day!


Shia LaBeouf Was Almost Cast as Oliver in ‘Call Me by Your Name’


By now, you’ve probably heard of Call Me by Your Name. You know, that film about Armie Hammer’s struggle with amnesia and his inability to call himself by anything other than someone else’s name.

Joking. The big, great gay romance film of the year staring Armie Hammer and Timothée Chalamet as the star-crossed lovers Oliver and Elio, respectively, is not about amnesia. It’s about peaches and Sufjan Stevens songs. It’s also apparently so powerfully moving that it caused Hammer to fall in love with director Luca Guadagnino.

But all of that love-making almost didn’t happen. In a new interview with Guadagnino, it’s been revealed that the entire film could’ve been very, very, very different. As in, so different it would’ve starred Shia LaBeouf as Oliver, which would’ve been terrible. In the James Ivory directed film that now exists solely in an alternate reality, LaBeouf would’ve played the grad student that Elio falls hopelessly in love with. The world may be terrible, but at least we can rest easy tonight knowing that Oliver is played to perfection by Hammer.

Oh, and the director also wants you to know that he tried masturbating with a peach because he wanted to prove that it wasn’t possible, so they wouldn’t have to do it. Turns out that it was not only possible, but when he went to Timothée and told him, the young actor said, “Of course it works! I tried it myself as well.”

Call Me by Your Name will be in theaters next Friday.

Daniel Day-Lewis, Paul Thomas Anderson Reunite for ‘Phantom Thread’


Daniel Day-Lewis has been a cinematic treasure throughout his long career, but all good things must come to an end. When the Oscar-winning actor announced his shocking plans to retire back in June, he also announced one last film he’d work on with Paul Thomas Anderson, the incredible director behind There Will Be Blood and The Master.

With the release of the first preview for their new film Phantom Thread, the mysterious final project for Day-Lewis, we finally get a peek at what they’ve been up to – and it doesn’t disappoint. The actor plays Ryan Woodcock, an eccentric, crazed dressmaker who, we’ll say it, looks like Tim Gunn’s serious older brother.

Rather than shouting “make it work,” Woodcock is busy being a 1950s London couturier who is aggressively obsessed with his work until he meets Alma, a woman who might just pull him apart at the seams as he falls for her. As with Anderson’s past work, it’s very serious, sensual, and packed with top-quality acting from everyone involved.

Speaking of awards, if Day-Lewis were to win one last time for this film, he’d tie Katharine Hepburn for most Oscar wins ever; he also won Best Actor for My Left Foot, Lincoln, and, of course, There Will Be Blood.

Phantom Thread will be in theaters this Christmas but, until then, check out the preview for a master class in acting.


Watch the ‘Star Wars: The Last Jedi’ Trailer and Scream With Joy


There are admittedly few things in the world that could illicit a scream of joy in times like these. Sometimes, it’s getting messaged by someone on Grindr who you’re actually interested in. But today, the exhilaration comes in the form of the arrival of the new Star Wars: The Last Jedi trailer.

A couple of months ahead of its December 15th release, Disney has finally, graciously released what many are calling one of the best movie trailers of all time – a title we’d personally give to both Star Wars: The Force Awakens and Star Wars: Rogue One. In the preview, which premiered during a football game nobody will ever remember, a lot of wild shit happens.

There’s Kylo Ren’s hypebeast-approved face scar; a training montage; an adorably furry Porg; some sort of ice wolf pack; heartbreaking scenes of Carrie Fisher’s General Leia Organa looking worried; and more than a few instances of people having bad feelings about all of this. Really, though, you’re better off watching it and screaming with joy like the rest of us.


5 Movies We’re Looking Forward to in 2017

2016 was rough, and 2017 is already seeming like a dark, daunting sequel. But there are several films coming out next year we’re excited about, not least of which are these five flicks we intend to see at their midnight premieres.

Snatched – May 12

What do you get when you combine comedy god Amy Schumer, legendary Goldie Hawn, and a South American island vacation gone horribly wrong? Snatched, which looks to be the raunchy irreverent followup to Trainwreck. 

The Circle – April 28

Beauty and the Beast isn’t Emma Watson’s only big film hitting theaters in the New Year – she’ll also star in The Circle, a creepy tech thriller that’s assembled an impressive cast including Tom Hanks and John Boyega. It might be time to start putting tape over our laptop cameras after watching this trailer.

The Book of Love – January 13

Maisie Williams stars as a homeless child alongside Jason Sudeikis, a suburban architect trying to help her out. We’re excited by the casting, which also includes a long-absent Jessica Biel, although we’re still trying to come to terms with Williams’ accent for the role. Is it Southern? Still British? We need answers.

Star Wars: Episode VIII – December 15

This is perhaps the movie we’re most itching to see next year – no word yet on any additional title, although it’s rumored Tom Hardy will join the cast as a Stormtrooper. And we know Carrie Fisher had already wrapped filming for her role as General Leia Organa.

Murder on the Orient Express – November 22

Ok, wow. Daisy Ridley. Johnny Depp. Kenneth Branagh as the calculating Hercule Poirot. Agatha Christie. We’ve just named the four people we’d like to be stranded on a desert island with, as well as the cast and minds behind next year’s film incarnation of one of our favorite murder mysteries of all time.

From ‘Carol’ to ‘Tangerine’: This Year’s Independent Spirit Award Nominees

This morning, Independent Spirit Award nominations were announced, boasting a diverse group of emerging artists and acclaimed filmmakers from Todd Haynes and Ed Lachman to Sean Baker and Cary Joji Fukunaga. The awards will be presented on February 27st so check out a selection of the nominees below and for the full list head here.

Best Feature
Producers: Duke Johnson, Charlie Kaufman, Dino Stamatopoulos, Rosa Tran

Beasts of No Nation
Producers: Daniel Crown, Idris Elba, Cary Joji Fukunaga, Amy Kaufman, Daniela Taplin Lundberg, Riva Marker

Producers: Elizabeth Karlsen, Christine Vachon, Stephen Woolley

Producers: Blye Pagon Faust, Steve Golin, Nicole Rocklin, Michael Sugar

Producers: Sean Baker, Karrie Cox, Marcus Cox, Darren Dean, Shih-Ching Tsou

Best Director
Sean BakerTangerine
Cary Joji Fukunaga, Beasts of No Nation
Todd Haynes, Carol
Charlie Kaufman & Duke Johnson, Anomalisa
Tom McCarthy, Spotlight
David Robert Mitchell, It Follows

Best Screenplay
Charlie Kaufman, Anomalisa
Donald Margulies, The End of the Tour
Phyllis Nagy, Carol
Tom McCarthy & Josh Singer, Spotlight
S. Craig Zahler, Bone Tomahawk

Best First Feature
The Diary of a Teenage Girl
Director: Marielle Heller
Producers: Miranda Bailey, Anne Carey, Bert Hamelinck, Madeline Samit

James White
Director: Josh Mond
Producers: Max Born, Antonio Campos, Sean Durkin, Melody Roscher, Eric Schultz

Manos Sucias
Director: Josef Kubota Wladyka
Producers: Elena Greenlee, Márcia Nunes

Director: Jonas Carpignano
Producers: Jason Michael Berman, Chris Columbus, Jon Coplon, Christoph Daniel, Andrew Kortschak, John Lesher, Ryan Lough, Justin Nappi, Alain Peyrollaz, Gwyn Sannia, Marc Schmidheiny, Victor Shapiro, Ryan Zacarias

Songs My Brothers Taught Me
Director/Producer: Chloé Zhao
Producers: Mollye Asher, Nina Yang Bongiovi, Angela C. Lee, Forest Whitaker

Best First Screenplay
Jesse Andrews, Me and Earl and the Dying Girl
Joseph Carpignano, Mediterranea
Emma Donoghue, Room
Marielle Heller, The Diary of a Teenage Girl
John Magary, Russell Harbaugh, Myna Joseph, The Mend

Best Male Lead
Christopher Abbott, James White
Abraham Attah, Beasts of No Nation
Ben Mendelsohn, Mississippi Grind
Jason Segel, The End of the Tour
Koudous Seihon, Mediterranea

Best Female Lead
Cate Blanchett, Carol
Brie Larson, Room
Rooney Mara, Carol
Bel Powley, The Diary of A Teenage Girl
Kitana Kiki Rodriquez, Tangerine

Best Supporting Male
Kevin Corrigan
Paul Dano, Love & Mercy
Idris Elba, Beasts of No Nation
Richard Jenkins, Bone Tomahawk
Michael Shannon, 99 Homes

Best Supporting Female
Robin Bartlett, H.
Marin Ireland, Glass Chin
Jennifer Jason Leigh, Anomalisa
Cynthia Nixon, James White
Mya Taylor, Tangerine

Best Documentary
Directors/Producers: Lyric R. Cabral & David Felix Sutcliffe
Producer: Christopher St. John
Best of Enemies
Directors/Producers: Robert Gordon and Morgan Neville

Heart of Dog
Director/Producer: Laurie Anderson
Producer: Dan Janvey

The Look of Silence
Director: Joshua Oppenheimer
Producer: Signe Byrge Sørensen

Directors/Producers: Jimmy Chin and Elizabeth Chai Vasarhelyi
Producer: Shannon Ethridge

The Russian Woodpecker
Director/Producer: Chad Gracia
Producers: Ram Devineni, Mike Lerner

Best International Film
Embrace the Serpent
Director: Ciro Guerra

Director: Céline Sciamma

(France, Turkey)
Director: Deniz Gamze Ergüven

A Pigeon Sat on a Branch Reflecting on Existence
Director: Roy Andersson

Son of Saul
Director: László Nemes 

Best Cinematography
Beasts of No Nation, Cary Joji Fukunaga
Carol, Ed Lachman
It Follows, Michael Gioulakis
Meadlowland, Reed Morano
Songs My Brothers Taught Me, Joshua James Richards

Revisiting the Devil in the Details of ‘Rosemary’s Baby’

In celebration of Halloween, we’re rerunning our essay on Rosemary’s Baby, one of the most haunting and wonderful films of all time. Take a read below and check out what other terrifying features you should be watching tonight.

“But I love him, Bob. I love him. I’m going to have to quit,” Mia Farrow said helplessly after her husband, Frank Sinatra, told her that if she was not done shooting Rosemary’s Baby by mid-February that he would divorce her. She was set to star alongside him in The Detective and Sinatra refused to delay his shoot date simply because Roman Polanski’s perfectionist obsessions were pushing Mia’s shooting schedule further and further back.

“If you walk out in the middle of my film, you’ll never work again,” crooned producer Robert Evans. Now in hysterics, Mia continued to cry, “I don’t care, I don’t care. I just love Frank.” So to quell her sobbing, Evans brought Mia into his executive screening room and showed her an hour of Rosemary’s Baby cut together. “I never thought you had it in you. It’s as good, no, even better than Audrey Hepburn’s performance in Wait Until Dark. You’re a shoo-in for an Academy Award.” Yes, the world is an entirely different place when love is involved, but the world is also a very solipsistic place when satisfaction of the ego is in full view. Devotion tends to evaporate when you realize the person you love the most stands in the way of finally achieving something great. And when the lights when dark, Mia’s pleas of, “I don’t care,” turned into Rosemary Woodhouse’s “All of them witches.” She didn’t hit the road and run of—just as swiftly as she made her decision, she was served divorce papers by Sinatra’s lawyer on the set. And that, according to the notorious Evans, is how this kid stayed in the picture.

The studio heads at Paramount wanted William Castle, a veteran director, to helm the film but Evans wanted Roman Polanski—bad. He knew that the young Polish director, who had made Repulsion, Knife in the Water, and The Fearless Vampire Killers had just worked with Marty Ransohoff, someone whom Evans says, “whatever he liked, I hated, and vice versa. When I heard Marty ranting all over town about what a no-talent Polanski was, I knew Roman was the man for me.”  Knowing that Polanski was an avid skier, Evans lured him over to his house with the enticement of directing Downhill Racer. “He looked at the titles of the books on my shelves. Within five minutes he was acting out crazy stories—somewhere between Shakespeare and theater of the absurd,” recalls Evans. Eventually he told Polanski that Downhill Racer was out the cards, the director’s seat had already been filled, but if he read this book by Ira Levin and liked it, his next ski trip could be billed to Evans himself. And so thus their working relationship began and Levin’s 1966 novel, Rosemary’s Baby, was set for a screen adaptation. The two got along famously, although things weren’t always easy—but what good ever comes from easy? “Fighting is healthy. If everyone has too much reverence for each other, or for the material, results are invariably underwhelming. It’s irreverence that makes things sizzle. It’s irreverence that gives you that shot at touching magic,” says Evans.
When it came to casting the film, Farrow had been Evans’s number one choice for the leading role of Rosemary Woodhouse, a naive and loving housewife who becomes trapped in a haze of paranoia and obsession once she begins to believe that a coven of witches is scheming to steal her unborn child for a human sacrifice. Polanski worried that the “ethereal quality” she possessed wouldn’t translate onto the screen, but at the end of the day Evans won the battle and 45 years later, it’s still impossible to imagine anyone else fitting the role with such a haunting presence. And for the part of her husband, Guy Woodhouse, a narcissistic actor who sells his unborn child to the devil in exchange for personal fortune, Polanski had his eye on Robert Redford. But he was taken. Naturally, Warren Beatty was upset that Evans never bothered to offer him the role, to which Evans responded, “It’s yours Warren, but you’re not right for Rosemary’s Baby unless you play it in drag.” Eventually they went with a young actor by the name of John Cassavetes who had recently starred in The Dirty Dozen. At the time, this was hardly ideal casting, but when you watch the film now with all the knowledge of Cassavetes’ maniacal demeanor and volatility matched with an endearing charm the role of Guy only makes complete sense—someone that Rosemary loves so deeply yet is so blind to.
Rosemary and Guy are a young couple who have moved into a large new apartment in the Bramford, an antiquated (and supposedly haunted) New York City apartment building. They quickly become friends with their elderly neighbors, Roman and Minnie Castevet, who are a bit eccentric and nosey, but who at first pose no danger. The Castevets invite the Woodhouses to dinner at their home and the two couples begin to spend a lot of time together—particularly Guy, acting as if they serve as a parental figure missing from his life. When Rosemary becomes pregnant, Guy and the Castevets insist that she begin to see an obstetrician, Dr. Sapirstein (also the name of Polanski’s dog), who tells Rosemary that rather than taking the usual prenatal vitamins, Minnie will make her a special herbal drink to have everyday to aid in the baby’s health. Over the first few months of her pregnancy, Rosemary suffers from extreme abdominal pain, which the doctor tells her will “go away on its own.” She begins to loose weight and her complexion pales as she craves raw meat and chicken liver—to her own disgust. She senses something is wrong and doesn’t want to lose the baby. Meanwhile, Guy’s career is on the rise since his understudy role turned into a lead when the main actor inexplicably goes blind.

Rosemary consults her old friend Hutch about her feelings of unease, and he is disturbed when he hears that her drinks from Minnie have been containing tannis root; he tells Rosemary he is going to look into what she has been consuming. A few weeks later, Hutch mysteriously falls into a coma only to regain consciousness right before his death to leave her a book about witchcraft. When Rosemary attends his funeral, she receives the book along with a cryptic message: “The name is an anagram.” She eventually realizes that Roman Castevet is actually the son of a former resident of the Bramford who was accused of worshipping Satan. This leads her to realize that her neighbors must be part of a coven of witches out for her baby and that Guy is cooperating with them in exchange for help in his career. From there, Rosemary spirals into a web of paranoia and doors with no exit. She’s trapped from that moment on, only to realize everyone in her world has sinister intentions and there’s nowhere to turn.

What works so incredibly well about Polanski’s adaptation of Levin’s book is how it avoids the pratfalls of the typical “horror” or “suspense” genre. It’s a brooding, anxious psychological horror-thriller that’s more of a slow breathing on your neck or a chilled hand grazing your spine rather than a swift jab at fright. The danger of the film is of another world: of the Devil; it’s beyond our mortal grasp and is therefore compelling in that it leaves us unable to know where to run. It’s not only frightening because of the outside powers that be, but speaks to the fear of one’s own mind. The Castevets, Dr. Sapirstein, and Guy all lead Rosemary to believe she’s the crazy one, and she is therefore trapped in a disassociated bewilderment at what reality really is. Her pregnancy also leaves her a vulnerable target for blame, allowing Rosemary to fall prey to their satanic demands.

Polanski gives us plenty of information early on in the film, and his attention to detail allows us to get to know the characters well from the very beginning; the slow reveal of their idiosyncrasies and personal details only heighten the suspense and make their later changes even more poignant. The horror in the film comes from the normalcy of it all. Rosemary’s live goes on as usual as this thing grows inside her. This sense of waiting creates an anxiety and therefore echoes Rosemary’s growing sense of paranoia. Polanski uses interior space and blocking to create a sense of claustrophobia. The Woodhouses’ apartment, which once seemed huge and open, now feels like a confined trap that Rosemary is locked in.

But one of the most important and most chilling scenes in the film comes in the form of Rosemary’s dream. The Castevetes have drugged her with a mousse dessert and, as she falls into a slumber, a dream sequence begins that is disturbingly realistic. The sequence hops from one moment to the next, inviting in fear and sexuality from the most unlikely of sources. Voices penetrate the dream as in life they are wont to do; this is not your typical haze-lit daydream. The dream’s bizarre world that moves from a boat, where Rosemary is being publicly undressed, to scaffolding where she lies under Michelangelo’s ceiling of the Sistine Chapel, is like a surrealist manifestation of her subconscious desires and anxieties. Naked figures surround her as a creature of some kind begins to claw at her flesh and rape her. Rosemary yells, “This is no dream, this is really happening!” The voices she hears in her dream mirror the reality of what is consciously happening in waking life, as Guy impregnates her, giving us two worlds that Rosemary is inhabiting—both evil. She is stuck in the nightmare, but would reality be any better?

The pay off at the end of the film, no matter how frightening, is that it’s finally a confirmation for Rosemary that she is not insane, that all the events she has experience actually happened. It’s a successful film because it wraps you around its crooked finger, never letting you know for sure just what to believe, and therefore consuming you in the fears that Rosemary faces. Mia Farrow’s face works as a wonderful blank canvas to project your fears onto as we see the once vibrant and beautiful mother-to-be wither away and succumb to her paranoia. We never see the demonic newborn, only the look of pure, unfettered horror on Farrow’s face. It’s a choice that at first feels like a tease, but then you realize that the act of not seeing is even worse—the imagination can make of it what they may.

In an afterword to the 2003 New American Library edition of Levin’s novel, he said, “Lately, I’ve had a new worry. The success of Rosemary’s Baby inspired Exorcists and Omens and lots of et ceteras. Two generations of youngsters have grown to adulthood watching depictions of Satan as a living reality. Here’s what I worry about now: if I hadn’t pursued an idea for a suspense novel almost forty years ago, would there be quite as many religious fundamentalists around today?” Let’s chew on some tannis root about that one for a while.

From ‘Carol’ to ‘Heaven Knows What’: 2015’s Gotham Award Nominations

This morning, the 2015 Gotham Awards nominations were announced and the nominees look to highlight a potpourri of some the year’s most beloved films from both renowned directors like Todd Haynes (Carol) and brilliant filmmakers on the rise like John Magary (The Mend). The ceremony will be held on November 30 at Cipriani Wallstreet with tributes to celebrated artists Robert Redford, Helen Mirren. and Haynes. Check out the full nominees list below.

Best Feature

Carol— Todd Haynes, director; Elizabeth Karlsen, Tessa Ross, Christine Vachon, Stephen Woolley, producers (The Weinstein Company)

The Diary of a Teenage Girl— Marielle Heller, director; Anne Carey, Bert Hamelinck, Madeline Samit, Miranda Bailey, producers (Sony Pictures Classics)

Heaven Knows WhatJosh and Benny Safdie, directors; Oscar Boyson, Sebastian Bear-McClard, producers (RADiUS)
+ read our interview with Safdie brothers here

SpotlightTom McCarthy, director; Michael Sugar, Steve Golin, Nicole Rocklin, Blye Pagan Faust, producers (Open Road Films)

TangerineSean Baker, director; Darren Dean, Shih-Ching Tsou, Marcus Cox & Karrie Cox, producers (Magnolia Pictures)
+read our interview with Baker here

Best Documentary

Approaching the ElephantAmanda Rose Wilder, director; Jay Craven, Robert Greene, Amanda Rose Wilder, producers (Kingdom County Productions)
+ read our interview with Wilder here

Cartel LandMatthew Heineman, director; Matthew Heineman, Tom Yellin, producers (The Orchard and A&E IndieFilms

Heart of a DogLaurie Anderson, director; Dan Janvey, Laurie Anderson, producers (Abramorama and HBO Documentary Films)

Listen to Me MarlonStevan Riley, director; John Battsek, RJ Cutler, George Chignell, producers (Showtime Documentary Films)

The Look of SilenceJoshua Oppenheimer, director; Signe Byrge Sørensen, producer (Drafthouse Films)
+ read our interview with Oppenheimer here

Bingham Ray Breakthrough Director Award

Desiree Akhavan for Appropriate Behavior (Gravitas Ventures)
+ read our interview with Akhavan here

Jonas Carpigano for Mediterranea (Sundance Selects)

Marielle Heller for The Diary of a Teenage Girl (Sony Pictures Classics)

John Magary for The Mend (Cinelicious Pics)
+ read our interview with Magary here

Josh Mond for James White (The Film Arcade)

Best Screenplay

Carol, Phyllis Nagy (The Weinstein Company)

The Diary of a Teenage Girl, Marielle Heller (Sony Pictures Classics)

Love & Mercy, Oren Moverman and Michael Alan Lerner (Roadside Attractions, Lionsgate, and River Road Entertainment)

Spotlight, Tom McCarthy and Josh Singer (Open Road Films)

While We’re Young, Noah Baumbach (A24)

Best Actor*

Christopher Abbott in James White (The Film Arcade)

Kevin Corrigan in Results (Magnolia Pictures)
+ read our interview with Corrigan here

Paul Dano in Love & Mercy (Roadside Attractions, Lionsgate, and River Road Entertainment)

Peter Sarsgaard in Experimenter (Magnolia Pictures)

Michael Shannon in 99 Homes (Broad Green Pictures)

Best Actress*

Cate Blanchett in Carol (The Weinstein Company)

Blythe Danner in I’ll See You in My Dreams (Bleecker Street)

Brie Larson in Room (A24 Films)

Bel Powley in The Diary of a Teenage Girl (Sony Pictures Classics)

Lily Tomlin in Grandma (Sony Pictures Classics)

Kristen Wiig in Welcome to Me (Alchemy)

Breakthrough Actor

Rory Culkin in Gabriel (Oscilloscope Laboratories)

Arielle Holmes in Heaven Knows What (RADiUS)

Lola Kirke in Mistress America (Fox Searchlight Pictures)
+ read our interview with Kirke here

Kitana Kiki Rodriguez in Tangerine (Magnolia Pictures)

Mya Taylor in Tangerine (Magnolia Pictures)


On His Birthday, Admire the Love & Longing of Wong Kar-wai with 20 of His Best Scenes

Watching a Wong Kar-wai film can be an overwhelming experience. Of course there’s the technical mastery and his beautiful storytelling, but there’s also an atmosphere he creates—a tone and texture that weighs heavy on his films and hits directly in the heart. Between the brilliant actors like Tony Leung, Faye Wong, and Maggie Cheung that populate his films, the incomparable skill for soundtracking his films, and the signature and striking cinematography throughout his oeuvre, there’s so much to love and so much emotion to be experienced with each of his films. Whether it’s his early features like Happy Together and Fallen Angels, or his classic duo In the Mood for Love and 2046, the existential romantic yearnings, desires, and the thwarted passion evoked from his work occupy the same internal space, residing in the warmest corners of your heart, filling you with an inevitable sense of sorrow but also an ineffable joy and pleasure in the arduous nature of excruciating love.

As today marks the director’s 57th birthday, let’s take a look back on some of his most cinematically brilliant, emotional, brutal, and stunning moments.

California Dreamin’, Chungking Express

I Don’t Care If You Love Me or Not, I’ll Love You Anyways, 2046 

Do You Have a Mistress?, In the Mood for Love

Dreams, Chungking Express

Expired Love, Chungking Express

Bar Scene, Fallen Angels 

I’ll Be Your Tree, 2046

Wherever You Want to Go, Chungking Express

Part 1, Fallen Angels

Mambo Dance, Days of Being Wild

Languid Passing, In the Mood for Love 

Dancing Scene, Happy Together 

Final Scene, Days of Being Wild

The End, In the Mood for Love

Take my Breath Away, As Tears Go By

In the Mood for Love Deleted Scene

Part 1, Happy Together

In the Mood for Love‘s Final Sequence

Soon We’ll Know, Happy Together 

We Shouldn’t Have Panicked, In the Mood for Love