With ‘The Mastermind’, the great American filmmaker Kelly Reichardt delivers a tremendous film - one efficiently controlled in its aesthetics and humor, anchored by Josh O’Connor performance.

Jon M. Chu and his eclectic cast return to the magical world of Oz to deliver what amounts to nothing but an overly infantile and ultimately dishonest adaptation of its source material in ‘Wicked for Good’.

Oz Perkins has yet to make something worthwhile in the opinion of our Maxance Vincent, but with his sixth feature, ‘Keeper’, the film could be the worst project he has ever helmed.

Netflix animation aims to deliver another refreshing crowd-pleaser with ‘In Your Dreams’, a refreshing and heartfelt family film about dreams, nightmares and everything in between.

Writer/Director Edgar Wright is back at it again, this time tackling a remake of ‘The Running Man’, based on the beloved Stephen King novel of the same name. What on paper seemed like a match made in heaven, unfortunately results in an action-packed letdown.

While ‘Nuremberg’ boasts a strong cast and admirable intentions, the bizarre choices it makes along the way turn what could’ve been a thought-provoking drama into a hollow and trite object.

‘Nouvelle Vague’ may be Avengers: Endgame for the Cahiers du Cinéma crowd, but the film is devoid of any substance beyond the aesthetic recreations of one of the most groundbreaking motion pictures that forever changed cinema.

Joachim Trier offers a profoundly affecting meditation on the healing – and life-affirming – power of art in ‘Sentimental Value’, anchored by a devastatingly brilliant Renate Reinsve, who gives this year’s most soulful performance. 

Jennifer Lawrence gives the best performance of her career in Lynne Ramsay’s ‘Die My Love’. However, the fragmented structure of the movie may prove alienating for audiences, especially as it purposefully antagonizes at almost every turn.

Joel Edgerton delivers his best performance to date in Clint Bentley’s ‘Train Dreams’, a complex and emotionally powerful elegy for a lost soul searching for meaning in a life that has left him and the contributions he made to society behind.

Sydney Sweeney and Ben Foster are spectacular in David Michôd’s ‘Christy’, but that’s about all this tediously generic sports-biopic has going for it.

Director Bradley Cooper has decided to scale things back for his third feature film ‘Is This Thing On?’, a tender and often very funny comedy that makes great use of its talented cast and emotionally accessible story.

‘Springsteen: Deliver Me from Nowhere’ may be the worst biopic of the decade thus far. Inert in ways that few movies on “tortured artists” are, the movie is entirely disinterested on the singer’s struggles with depression and the making of his ultimate masterpiece.

Jafar Panahi crafts his most daring film yet with the Palme d’Or-winning ‘It Was Just an Accident.’ With an admittedly simple premise, the Iranian filmmaker defies authority with simple gestures that speak louder than a thousand words.

Chris Stuckmann certainly has the cinematic baggage to craft ‘Shelby Oaks’, but he cannot effectively transcend any of the influences he cites in this painfully underdeveloped horror film.

More exhausting than it is compelling, Richard Linklater fails to meaningfully illustrate who Lorenz Hart is in his chamber piece, ‘Blue Moon’.

Yorgos Lanthimos remakes Jang Joon-hwan’s ‘Save the Green Planet!’ with ‘Bugonia’, and the results aren’t as successful as his previous collaborations with Emma Stone, despite its staggering VistaVision photography and solid turns from its lead stars.

‘This Too Shall Pass’ is an 80s movie that never pretends to have all the answers. Rather, by the end of the film, it is clear to the filmmakers and the audience that the destination is less important than the journey itself.

Noah Baumbach reflects on the dwindling nature of stardom in the metafictional ‘Jay Kelly’, which sees George Clooney grapple with the finitude of a career inside an era that Hollywood now rejects.

The Grabber may have met his maker, but that hasn’t stopped him from clawing his way back to terrorize Finney and Gwen yet again in ‘Black Phone 2’, a horror sequel that provides chilling scares and an exciting expansion of the overarching mythology.