Despite one of the year’s best ensembles, Karim Aïnouz and Efthimis Filippou’s reinterpretation of a Marco Bellocchio classic in ‘Rosebush Pruning’ ends up being a massive nothingburger.
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Matt Johnson deconstructs – and complicates – the very nature of biopics by drawing a tragic portrait of Anthony Bourdain’s youth in the masterful ‘Tony’.
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Despite an incredible lead performance from Haruka Ayase, fillmmaker Hirokazu Kore-eda struggles to translate many ideas on screen in ‘Sheep in the Box’, making it a massive misstep for the prolific Japanese auteur.
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Tom Holland’s wall-crawler is back on the big screen yet again in ‘Spider-Man: Brand New Day’, an installment that is not only the best entry in the series yet, but one of the best Spider-Man films - period.
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In yet another display of Christopher Nolan’s ambition, this latest film adaptation of ‘The Odyssey’ marks a new high in Nolan’s already impressive filmography.
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While Mark Jenkin continues his signature visual language and draws career-best performances from Callum Turner and George MacKay, the overall experience of ‘Rose of Nevada’ confounds more than it illuminates.
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While imperfect in its structure, Carla Simón manages to pull us into a devastating portrait of a young woman searching for the truth amid a fractured family with ‘Romería’.
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After a seven year hiatus, Woody and the gang are back on the big screen in ‘Toy Story 5’. Though this sequel is timely in its exploration of toys versus technology, this is ultimately an entertaining, but unnecessary new installment.
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Steven Spielberg and the sci-fi genre has proven to be a match made in heaven for decades. Fortunately, this continues to be a winning combination in ‘Disclosure Day’, a spellbinding sci-fi adventure that continues to show the beloved director operating at the height of his powers.
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After a three year absence, writer/director John Carney returns with his latest film ‘Power Ballad’. Though this music film may not be pitch perfect, it strikes a lot of the right chords.
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Despite a solid cast and assured photography, Olivier Assayas fails to meet the moment with ‘The Wizard of the Kremlin’, delivering a complete nothingburger that has no idea what it wants to say about the figures it presents.
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Horror fans have been eating well this year with a myriad of refreshing new entries into the overpopulated genre. However, writer/director Curry Barker’s ‘Obsession’ takes your expectations and laughs at them as it toys with them, becoming the year’s best new addition so far.
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The beloved anti-hero Frank Castle returns to the MCU in ‘The Punisher: One Last Kill’, a special presentation event that continues to prove why street level Marvel is the most compelling corner of this extended universe.
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Thanks to the on-screen talents of Sally Field and Lewis Pullman, Olivia Newman overcomes many of the inconsistencies that plague the filmed adaptation of ‘Remarkably Bright Creatures’ and turns it into a relatively charming affair.
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After two decades of heavy anticipation, fans will finally be able to feast their eyes on ‘The Devil Wears Prada 2’, a sequel that may not reach the dizzying heights of its beloved predecessor, but brings with it plenty of glitz, glamour, and entertainment value.
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Thanks to heartfelt performances from Robert Aramayo, Maxine Peake, and Peter Mullan, Kirk Jones’ ‘I Swear’ overcomes its clear Ken Loach visual inspirations and draws an uplifting portrait of finding purpose in raising awareness of the difficulties of Tourette’s syndrome.
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Because of Charli XCX's star-making performance, director Pete Ohs subverts a conventional story with ‘Erupcja’ to deliver a textured, aesthetically daring character study of a broken couple seeking purpose inside a world in total eruption.
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While the first half of Blue Heron seems conventional, the movie reveals itself as anything but and already positions Sophy Romvari as a major voice to watch within contemporary Canadian cinema.
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Thanks to its masterful framing and an impeccable lead performance from Aleksandr Kuznetsov, Sergei Loznitsa’s ‘Two Prosecutors’ overcomes its rather telegraphed conclusion and its alienating structure to become a powerful historical drama that asks its audience not to forget.
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Directors Phil Lord and Christopher Miller are back at it again, this time adapting Andy Weir’s beloved novel ‘Project Hail Mary’, delivering a miraculously well-made sci-fi adventure that is as ceaselessly entertaining as it is achingly hopeful.
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