Léa Seydoux and George MacKay give compelling turns in Bertrand Bonello’s ‘The Beast’, a sci-fi picture that ultimately loses itself in its massive ambitions.
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Radu Jude delivers his boldest piece of work yet in ‘Do Not Expect Too Much from the End of the World’, a sharp, black-comedy that defiantly portrays a society destined to consume itself and leave everyone behind.
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‘The King Tide’ will get under your skin by showing the failings of human nature, and how quickly people will exploit, abuse, and conspire in order to preserve the status quo. It is a horrifying thriller which will remain with you long after the end credits have finished rolling.
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‘Love Lies Bleeding’ knows exactly what it is doing, even if the audience won’t predict where the story goes. The filmmakers make bold swings, whether through the film’s story, its performances, or its imagery, which creates a film that could only be described as ‘fearless’.
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‘Kung Fu Panda 4’ is a great addition to the beloved franchise, providing a balanced mix of entertainment and emotional depth. With the engaging plot and captivating visuals, this movie is an unforgettable journey that will leave the audience in awe.
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Audiences at last can return to the planet of Arrakis in ‘Dune: Part Two’, a sequel that not only manages to surpass its predecessor in every conceivable way, but cement itself as one of the best sequels ever put to film.
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‘Drive-Away Dolls’ if nothing else, is a mindless B movie through and through. That’s not a bad thing in and of itself, but it will surely polarize audiences. Yet, considering that the film was made in the 2020s, is set in the 90s, and boasts a style which evokes the 70s, it achieves a level of kitsch that is rarely reached.
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Sony’s Spider-Man-adjacent universe continues with ‘Madame Web’, yet another messy, empty attempt at creating an extended universe worth getting invested in.
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While Lashana Lynch’s supporting portrayal of Rita Marley breathes life into ‘Bob Marley: One Love’, Reinaldo Marcus Green’s latest biopic joins the pantheon of empty spectacles designed to sell records.
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Nikolaj Arcel’s ‘The Promised Land ‘ contains one of Mads Mikkelsen’s greatest performances inside an old-school, but always riveting, character drama.
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While ‘The Kitchen’s sociopolitical underpinnings could’ve used more meat around the bone, its technical direction from Daniel Kaluuya coupled with lead performances from Kane Robinson and Jedediah Bannerman make it a worthwhile watch.
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While ‘The Book of Clarence’ boasts great lead performances and a terrific sense of style, its thematic underpinnings through its theological setting are all surface-level, unafraid to question anything it unevenly presents.
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Illumination’s ‘Migration’ is a harmless, breezy bit of entertainment that cares more about its characters than it had to in order to succeed. Occasionally a bore, often dry, but give Migration a chance on a big screen.
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Jeffrey Wright delivers the best performance of his career in Cord Jefferson’s ‘American Fiction’, which draws a timely satire on our politically correct-driven era.
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Even those not fans of wrestling will laud The Iron Claw for its deeply human story, towering lead performance from Zac Efron and Holt McCallany at the height of his character acting powers. It may not be the easiest movie of the year to watch, but it’s one of the most impressive from a storytelling and acting perspective.
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The DCEU is finally coming to a close with ‘Aquaman and The Lost Kingdom’, a sequel that may not reach the heights of its predecessor, but still delivers an entertaining sendoff for the cinematic universe.
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‘The Zone of Interest’ contains two masterfully calculated performances from Christian Friedel and Sandra Hüller, who accompany Jonathan Glazer’s terrifying visual and aural nightmare.
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John Woo strips away dialogue in ‘Silent Night’, and delivers a no-holds-barred actioner that reminds us all why he’s one of action cinema’s greatest image-makers.
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‘The Hunger Games: The Ballad of Songbirds and Snake’ feels like a natural continuation of the Hunger Games cinematic franchise in just about every way, and may even go down as one of the most effective and well-managed prequels of this ilk.
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“May December” boasts an incredible lead trio of Julianne Moore, Natalie Portman, and Charles Melton, with Todd Haynes delivering his best directorial effort since 2015’s “Carol”.
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