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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What happens when three nuns and a young boy go on a journey across New Zealand? You get one of the best indie movies of the year in ‘Holy Days’.
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Michel Franco’s ‘Dreams’ fails to meet the moment with a mostly empty erotic drama that takes a repulsive turn near its allegedly shocking denouement.
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Writer/director John Patton Ford returns with ’How To Make A Killing’, a deliciously entertaining tale of how the pursuit of money and status can corrupt and poison, which showcases yet another stellar turn from Glen Powell.
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After a long absence, writer/director Bart Layton is back with ‘Crime 101’, a refreshing and old-fashioned crime thriller that thankfully doesn’t waste a tremendously good cast.
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Thanks to a deeply affectionate turn from Carmen Maura, Maryam Touzani’s ‘Calle Málaga’ will tug at your heartstrings and perhaps break you into a million pieces until you are renewed by a feeling of hope and tenderness.
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Despite star Charli XCX’s well-documented cinephilia, ‘The Moment’ struggles to find a strong cinematic identity
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Thanks to heartfelt performances by Claire Foy and Brendan Gleeson, Philippa Lowthorpe’s ‘H Is for Hawk’ is effective enough to hold our attention, even if the approach taken here feels a bit too pedestrian.
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While Kate Winslet’s ‘Goodbye June’ may not reinvent the aesthetic and thematic wheel, its story is treated with great urgency and emotional care, allowing the audience to feel the characters’ emotions, rather than being told what to think at any given moment.
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Nicholas Hytner’s ‘The Choral’ shines when it focuses on its protagonists ruminating on the casualties of war, but not so much when drawing character relationships inside the titular choir.
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