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.
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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.
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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.
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More exhausting than it is compelling, Richard Linklater fails to meaningfully illustrate who Lorenz Hart is in his chamber piece, ‘Blue Moon’.
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‘Anemone’ should only be watched by those craving another performance from Daniel Day-Lewis, because the film surrounding his incredible, controlled turn does not work at all.
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Thanks to a painterly sense of image-making and captivating turns from Marion Cotillard and Clara Pacini, Lucile Hadžihalilović creates a unique atmosphere with ‘The Ice Tower’, blending the artifice of cinema with the trauma-inducing dread of a child’s fantasy.
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Benny Safdie breaks the aesthetics that he developed over the years with his brother Josh to craft a surprisingly patient, often discordant docudrama in ‘The Smashing Machine’, which sets his solo directorial career on exciting horizons.
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For anyone who’s read even a smattering of smut in their lives, ‘Tell Me What You Want’ will offer precious few surprises.
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Thanks to its assured sense of style and magnifying performances from Tessa Thompson and Nina Hoss, director Nia DaCosta crafts her best-ever film with a modern adaptation of Henrik Ibsen’s Hedda Gabler and takes ‘Hedda’ in more daring directions than its original author ever envisioned.
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While Oliver Hermanus stuns with its patient visual language and soul-shocking musical sequences, ‘The History of Sound’s structure — and a miscast Paul Mescal — leaves a lot to be desired by the time the movie reaches its admittedly devastating epilogue.
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While ‘The Lost Bus’ follows the 2018 Northern California Camp Fire, the prevalence and recency of what seems to be an evermore common occurrence of mass wildfires in California makes the timely release of this project all the more topical.
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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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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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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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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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