Kristen Stewart and Alia Shawkat pair up for the year’s best hangout movie with ‘The Wrong Girls’, a movie that functions best when you don’t try to think about it too much.
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While the laughs may not flow as much as the first two films in the franchise, the Broken Lizard crew still gives us a hefty dose of shenanigans with ‘Super Troopers 3’.
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Thanks to its committed performances and an impeccably controlled aesthetic palette, director Nicky Murphy gives us a mockumentary for the ages in ‘I Love Paris’, which can even put What We Do In the Shadows to shame.
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While brief, Makoto Ueda crafts a highly playful meta-comedy with ‘You Are the Film’ and awakens our innate love of cinema as a unifying art form.
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John Early’s convincing performance as ‘Maddie’s Secret's titular character saves a rather perplexing experience that doesn’t know whether to fully lean into its satirical provocations or seriously explore the protagonist’s secret.
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Ol Parker’s latest romantic comedy, ‘Office Romance’, is frequently bizarre and, in many respects, painfully unfunny. However, once Jennifer Lopez and Brett Goldstein are paired together, it’s pure movie magic.
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While ‘Ladies First’ boasts a fun cast, the movie’s morals are even more dated and regressive than its French-language 2018 original.
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Chandler Levack celebrates the vibrancy of Montreal with her lovingly constructed ‘Mile End Kicks’, despite screenwriting and pacing issues that prevent the film from being a memorable tribute to the city.
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While more commercial than her previous films, Chandler Levack’s humanist touch seeps through every aspect of her funny and achingly moving ‘Roommates’, anchored by two brilliant performances from Sadie Sandler and Chloe East.
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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 a committed (French-speaking) performance from Jodie Foster, Rebecca Zlotowski’s ‘A Private Life’ is an intriguing mystery film.
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While ‘Eternity’ boasts a compelling concept, the movie’s repetitive structure leaves much to be desired as it trudges through a predictable conclusion with little to no emotional impact.
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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.
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‘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.
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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.
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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.
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Shane Black has fun in the cartoonishly glorious adaptation of Donald E. Westlake’s work with ‘Play Dirty’, containing Mark Wahlberg’s best performance in years as he dons the mantra of Westlake’s most iconic character.
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While ‘Eleanor the Great’ is elevated by a legendary turn from June Squibb as the titular character, the film’s handling of several subjects leaves much to be desired, as does Scarlet Johansson’s direction.
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Thanks to an assured sense of style and magnifying performances from its core cast, Michael Angelo Covino’s ‘Splitsville’ manages to stay afloat, despite a cyclical structure that makes some of its funnier beats less impactful.
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Thanks to a captivating performance by Margaret Qualley and an assured sense of style and hyper-violence, Ethan Coen manages to make ‘Honey Don’t!’ a memorable affair, even if it continuously stumbles along the way.
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