Because director Francis Lawrence is such a storied visual artist, ‘The Long Walk’ can mostly overcome its shoddily written screenplay as it continuously coddles the audience through a slow paced stroll of Stephen King’s first work.
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Alex Russell eviscerates our social media-obsessed era with the riveting and often terrifying ‘Lurker’, thanks to incredible turns from Théodore Pellerin and Archie Madekwe.
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Spike Lee’s adapts Akira Kurosawa’s original with ’Highest 2 Lowest’ - undoubtedly the best remake of his career, anchored by another magnifying lead turn from Denzel Washington, who continues to prove why he’s the greatest to have ever done it.
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In a summer movie landscape overcrowded with superhero blockbusters, ‘She Rides Shotgun’ is a refreshing change of pace, delivering a powerful story of unconditional love and lost innocence set against a thrilling backdrop.
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While it may not be as narratively and thematically strong as ‘Past Lives’, Celine Song still delivers a jaw-droppingly affecting meditation on love and its intrinsic connection to life with ‘Materialists’.
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While ‘On Swift Horses’ boasts compelling performances from its star-studded cast, the film’s lack of identity makes it difficult for audiences to latch onto its story and thematic underpinnings.
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Rami Malek shines in ‘The Amateur’, as the Oscar-winning actor delivers a performance in this action-thriller that feels tailor-made for him.
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Thanks to a magnifying lead turn from Susan Chardy, Rungano Nyoni ensures you will not forget ‘On Becoming a Guinea Fowl’, as one of the year’s most important movies.
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In this story of the past coming back to haunt an opera director during a production of ‘Salome’, director Atom Egoyan gives us ‘Seven Veils’, a film which is all that Egoyan fans could ask for.
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Paolo Sorrentino looks at youth’s deepest regrets as time goes by in ‘Parthenope,’ a study on how we we choose to spend the finite period we have on this planet.
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Walter Salles attempts to denounce Brazil’s military dictatorship in his family drama ‘I’m Still Here’ but accomplishes very little despite a committed performance by Fernanda Torres.
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While stars Nicole Kidman and Antonio Banderas give their all in ‘Babygirl’, the film is hindered by a severe lack of chemistry with its lead star and a profoundly miscast Harris Dickinson.
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Tim Fehlbaum’s attempt at criticizing the normative ideals of journalistic objectivity in ‘September 5’ turns into a total and complete failure by being afraid of engaging itself with the backdrop it presents.
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William Goldenberg energetically depicts Anthony Robles' inspiring story in ‘Unstoppable’, a sports drama anchored by compelling turns from Jharrel Jerome, Don Cheadle, and Jennifer Lopez.
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Despite an assured visual style, Steve McQueen’s latest fiction film, ‘Blitz’, is an often muddled and dull drama that doesn’t know what it wants to say about the central characters it focuses on.
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Clint Eastwood gives aspiring filmmakers a true lesson in shot-reverse-shot with ‘Juror #2’, a gripping procedural thriller on the fallacies of our legal system(s).
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Robert Zemeckis teams up with Tom Hanks and AI, but the garish experiment simply becomes non-linear, static and a complete miss. The resulting film is ‘Here’, and it is just as baffling as you think.
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Andrea Arnold turns her social realist lens into a magical one with ‘Bird’ and fails at drawing any meaningful arcs on its central characters despite a constantly assured stylistic touch.
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Mohammad Rasoulof confronts and rejects state propaganda in his daring and courageous The Seed of the Sacred Fig and makes the most critical piece of political media of the decade so
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Jacques Audiard attempts to depict the tragic story of its titular character in ‘Emilia Pérez’, but the narrative/aesthetic results are constantly baffling and, more offensively, deeply transphobic.
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