Margot Robbie

In its booze-addled worship of cinema, “Babylon” loses sight of its north star, turning a story about the victims of excess into excess itself and becoming spectacularly tone deaf to the context surrounding it.

For Margot Robbie and Diego Calva, there is no better feeling than briefly residing in a different universe — especially the lavish, unruly Hollywood in Damien Chazelle’s “Babylon.”

If “Pam & Tommy” is a story entranced by characters reaching for a higher status, it also takes interest in one character who knows she has more wit than the twits surrounding her.

However, most glaringly, anytime “The Suicide Squad” approaches the illusion of being good, its pacing and penchant for trumpeting its star-studded cast distract from its mission.

 Opening with eccentric animated sequences, “Birds of Prey” immediately thrusts viewers into the chaos of Harley’s world.

The film focuses on the complicated and nuanced relationship the women have with corporate discrimination and sexual abuse.

(Tarantino) indeed luxuriates in resurrecting 1969 Los Angeles in his image, spending plenty of time with characters listening to radio ads while speeding through spotlights in vintage cars — but the ubiquity of pop culture has purpose.

I have been away for just under a week and already feel completely out of touch with my former blasé American culture, but I promise to reach deep within that old part of myself each week and bring forth the best of what it and Berkeley have to offer.

Despite offering a surprisingly eclectic spread of nominees, the 90th Academy Awards proved to be utterly, boringly predictable.