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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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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‘Hokum’ crafts a cinematic Irish folktale and brings it into modern day, but regardless of the title, there’s no ‘hogwash’ to be found in terms of the fear director Damian McCarthy creates.
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Directors Daniel Roher and Charlie Tyrrell offer a pragmatic vision of our potential Artificial Intelligence-dominated future with ‘The AI Doc: Or How I Became an Apocaloptimist’, even if it doesn’t go deep enough.
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Vicky Jewson’s ‘Pretty Lethal’ squanders an interesting premise with paper-thin characters, dull performances, and poorly staged action.
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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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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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Paul Feig crafts his first theatrical production since 2019 with an adaptation of ‘The Housemaid’, but the end result leaves much to be desired, despite solid turns from Amanda Seyfried and Brandon Sklenar.
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Kaouther Ben Hania’s docu-fiction hybrid ‘The Voice of Hind Rajab’ is a difficult but necessary document of the atrocities still occurring to this day in Gaza, and, most importantly, the individual human stories no one is currently talking about.
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James Cameron offers another lesson in blockbuster filmmaking with the daring ‘Avatar: Fire and Ash’, through three hours of dazzling mythopoetic images that remind you what all great art should strive to achieve.
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While Bryan Fuller’s ‘Dust Bunny’ bristles with an imaginative visual style and an intriguing world to explore, it’s often bogged down by unimpressive CGI theatrics, despite Mads Mikkelsen and Sophie Sloan attempting to hold the fort.
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While ‘Nuremberg’ boasts a strong cast and admirable intentions, the bizarre choices it makes along the way turn what could’ve been a thought-provoking drama into a hollow and trite object.
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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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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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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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Kleber Mendonça Filho gives us the most important political film of the year with ‘The Secret Agent’, a thriller fluent in both film and political history, with a captivating performance from Wagner Moura anchoring the picture.
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Frighteningly prescient, renowned documentarian Raoul Peck navigates through generations of fascism with the words of George Orwell.
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