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The Best Moments From the Oscar Movies of 2025

January 28, 20254 Mins Read


The best example of this is earlier in the film, before we’ve even seen proper brutalism on display. The library that László Tóth designs as a “surprise” for blue-blooded industrialist Harrison Lee Van Buren (Guy Pearce) is more modernist than brutal, with its clean lines and manipulation of depth and perception. It is also a basic remodeling job that László and his cousin (Alessandro Nivola) take on as glorified day-laborers.

Even so, László is a perfectionist and an artist. No matter how meager the circumstances, and being a postwar refugee immigrant is fairly meager, he cannot help but find ways to express himself. This can occur in little touches like when he moves Harrison’s new reading chair in the center of the room for maximum sunlight. It’s an evocation of an artist honing his craft purely for art’s sake—and an early summation of the film. For all his genius and care, and even when beautifying the lives of the rich and powerful, the immigrant is still only the help: a guest allowed into the home but never welcomed. This is confirmed after Pearce’s raging Harrison enters the picture seconds later. – DC

The Inmates Perform Breakin’ the Mummy’s Code in Sing Sing

As you might expect from a prison drama focusing on a man wrongfully sentenced to prison, Sing Sing has lots of dark moments. But director Greg Kwedar manages to create a movie that’s more than just human suffering and misery, in part because he draws from the real experiences of inmates who participated in the Rehabilitation Through the Arts program, and in part because he gets formerly incarcerated people to portray themselves.

That verisimilitude allows Kwedar and co-writer Clint Bentley to find notes of not just humanity, but also pure joy, in the darkness of Sing Sing. That joy comes to the fore when the inmates perform a play they wrote, Breakin’ the Mummy’s Code. A delightful mishmash that includes time travel, cowboys, mythical gods, and even Freddy Krueger, Breakin’ the Mummy’s Code finds the characters at their most indomitable, hindered by neither unjust prisons nor by genre conventions. – Joe George

Paul Breaks Bad in Dune: Part Two

Denis Villeneuve’s Dune and Dune: Part Two offer a lot to please fans of the Frank Herbert books. The movie’s manage to retain much of the film’s complex mythology and world-building, even while streamlining the concepts for larger audiences. Top-rate actors and special effects bring to life the devout Stilgar, the insidious Baron Harkonnen, and, of course, the hulking sandworms. And yet, book adherents cannot help but feel a certain dread as the story plays out: “Do they get it? Do they get that Paul will be just as corrupted as any other charismatic leader?”

All those fears fall away in the final moments of Dune: Part Two. With his enemy Feyd-Rautha defeated and his followers chanting “Lisan al-Gaib” behind him, Paul pulls the knife from his shoulder and stares down Emperor Shaddam Corrino IV. Free of all the timidity that marked every previous glimpse of the golden path before him, Paul demands worship from everyone, and orders his troops to engage in Holy War against dissenters. Enhanced by the defiant march that Zendaya gives Chani as she walks away, by the mournful strains of Hans Zimmer’s score, and by the mad look Timothée Chalamet sneaks into Paul’s stoic stare, we understand that Muad’Dib is no liberating hero. He’s just another man intoxicated by power, just like Herbert intended. – JG



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