Ella Taylor

Ella Taylor is a freelance film critic, book reviewer and feature writer living in Los Angeles.

Born in Israel and raised in London, Taylor taught media studies at the University of Washington in Seattle; her book Prime Time Families: Television Culture in Post-War America was published by the University of California Press.

Taylor has written for Village Voice Media, the LA Weekly, The New York Times, Elle magazine and other publications, and was a regular contributor to KPCC-Los Angeles' weekly film-review show FilmWeek.

Nobody shuts up for a nanosecond in The Death of Stalin, a wickedly gabby black comedy about the noxious power vacuum that followed the Soviet dictator's sudden collapse from a stroke in 1953.

Among his other abundant talents, Stanley Tucci gives great smirk.

British filmmaker Sally Potter, a bold adventurer with form and genre, has racked up a formidable resume of hits and some misses, among them the gorgeous historical gender-bender Orlando (1992); the sexy dance movie The Tango Lesson (1996); The Man Who Cried (2001), a tone-deaf Holocaust misfire; and the terrific Ginger and Rosa (2012), which explored the tricky friction between ideology and private behavior on the lefty margins of 1960's London, where Potter came of age.

As is often the case, this year's crop of Academy Award-nominated live action shorts — several of them made as newbie filmmakers' calling cards — make up in earnest humanity for what they lack in technical sophistication. One way or another, all of this year's nominees turn on themes of terror — that's if you count the lone comedy, which speaks to the fear, fantasy, or wishful thought that psychiatrists may be crazier than their patients. Here they are, ranked from best ... to best-intentioned.

My Nephew Emmett

In 2012 Ben Lewin made The Sessions, an irreverent and perceptive fact-based dramedy with John Hawkes as a horny, lovelorn polio survivor in an iron lung, and Helen Hunt as his sex surrogate. Lewin, too, had polio as a child, which may account for his nuanced ability to picture the disabled as, you know, people who happen to be carrying an extra load.