The Oscar Race Is Finally Becoming Real
After a summer spent predicting films by reputation, release date and pedigree, Venice and Telluride have finally given the 2027 Oscar race something more useful: evidence.
Rankings, essays, interviews, and stories about how movies are made, seen, and remembered.

Ridley Scott and Denis Villeneuve built two of science fiction’s most visually overwhelming worlds. Beneath the rain, neon, amber dust and artificial memories, both films return to a harsher question than “what makes us human?”: what is left when the story that made us feel special stops being true?
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Everything we know about Brad Pitt’s return to 1977 Hollywood — and why Quentin Tarantino handing Cliff Booth to David Fincher may be more interesting than a conventional sequel ever could be.

From intimate documentaries to enormous studio spectacles, these are the films that have defined the year through August 4.

IMAX, Dolby, 70mm, and the ordinary multiplex screen do not simply show the same movie differently. At their best, they change the movie itself.
After a summer spent predicting films by reputation, release date and pedigree, Venice and Telluride have finally given the 2027 Oscar race something more useful: evidence.
Twilight made Robert Pattinson one of the most recognizable actors alive. What he did with that fame — chasing difficult filmmakers, disappearing into strange characters and eventually returning to the biggest movies in Hollywood on his own terms — made the career far more interesting than the reinvention story suggests.
The summer gave awards season two genuine heavyweights. Venice, Telluride, and Toronto are about to tell us whether anyone can dislodge them.
The next four months belong to monsters, auteurs, returning franchises, Oscar hopefuls, and a few studio bets strange enough to make the season feel unpredictable.
James Cameron imagined artificial intelligence as an apocalypse waiting in the future. In 2026, the unsettling part is how ordinary the path toward it now feels.
Rotten Tomatoes, CinemaScore, Letterboxd and TikTok all claim, in different ways, to tell us what audiences think. They are measuring different people, at different moments, for different reasons — and those judgments are increasingly becoming part of the movie itself.
Brand New Day has crossed $2 billion worldwide, pushed August to an all-time domestic record and put the unadjusted North American crown within reach. The numbers are extraordinary. What they say about the rest of theatrical moviegoing is more complicated.
Forty-nine years of sequels, prequels, television series, novels and canon have explained almost every corner of George Lucas’s galaxy. Go back to the 1977 film, though, and its most radical quality is how little it asks us to know.