Sony’s Spider-Man-adjacent universe continues with ‘Madame Web’, yet another messy, empty attempt at creating an extended universe worth getting invested in.
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While Lashana Lynch’s supporting portrayal of Rita Marley breathes life into ‘Bob Marley: One Love’, Reinaldo Marcus Green’s latest biopic joins the pantheon of empty spectacles designed to sell records.
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Just in time for Valentine’s Day, director Zelda Williams has brought audiences ‘Lisa Frankenstein’, a quirky, charming throwback that is destined for cult classic status.
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Nikolaj Arcel’s ‘The Promised Land ‘ contains one of Mads Mikkelsen’s greatest performances inside an old-school, but always riveting, character drama.
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‘Argylle’ desperately wants to be a crowd pleaser as it attempts to convince the masses of Matthew Vaughn’s brand of kinetic action and whiplash-style storytelling. Yet falls far behind all his previous work in all manners of deliverance, struggling to succeed on any of the same levels as the best of his work.
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While ‘The Kitchen’s sociopolitical underpinnings could’ve used more meat around the bone, its technical direction from Daniel Kaluuya coupled with lead performances from Kane Robinson and Jedediah Bannerman make it a worthwhile watch.
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It’s clear what director Martin Scorsese wanted to do with ‘Killers of the Flower Moon’. The film makes audiences privy to the cold-blooded conversations between the men who murdered dozens in the name of single-minded greed, which makes it an important story to tell.
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While ‘The Book of Clarence’ boasts great lead performances and a terrific sense of style, its thematic underpinnings through its theological setting are all surface-level, unafraid to question anything it unevenly presents.
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Illumination’s ‘Migration’ is a harmless, breezy bit of entertainment that cares more about its characters than it had to in order to succeed. Occasionally a bore, often dry, but give Migration a chance on a big screen.
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Jeffrey Wright delivers the best performance of his career in Cord Jefferson’s ‘American Fiction’, which draws a timely satire on our politically correct-driven era.
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Even those not fans of wrestling will laud The Iron Claw for its deeply human story, towering lead performance from Zac Efron and Holt McCallany at the height of his character acting powers. It may not be the easiest movie of the year to watch, but it’s one of the most impressive from a storytelling and acting perspective.
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The DCEU is finally coming to a close with ‘Aquaman and The Lost Kingdom’, a sequel that may not reach the heights of its predecessor, but still delivers an entertaining sendoff for the cinematic universe.
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‘The Zone of Interest’ contains two masterfully calculated performances from Christian Friedel and Sandra Hüller, who accompany Jonathan Glazer’s terrifying visual and aural nightmare.
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Timothee Chalamet steps into the hat of the iconic chocolate maker in ‘Wonka’, a prequel that manages to charm and warm your heart in equal measure.
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Despite striking images from cinematographer Matthew Libatique, director Bradley Cooper fails to peer through the public façade of Leonard Bernstein in the ridiculously formless and inert ‘Maestro’.
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John Woo strips away dialogue in ‘Silent Night’, and delivers a no-holds-barred actioner that reminds us all why he’s one of action cinema’s greatest image-makers.
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Even by Disney’s own standards, ‘Wish’ is often too generic and predictable. For a film billed as a celebration of Disney’s centennial and a love letter to its lore, it only feels a fraction as special as it should.
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Whichever way you spin it critically, Eli Roth’s ‘Thanksgiving ‘has certainly been a financial success, and a sequel would be no surprise, despite the fact the film isn’t anything to truly be thankful for.
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‘The Hunger Games: The Ballad of Songbirds and Snake’ feels like a natural continuation of the Hunger Games cinematic franchise in just about every way, and may even go down as one of the most effective and well-managed prequels of this ilk.
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“May December” boasts an incredible lead trio of Julianne Moore, Natalie Portman, and Charles Melton, with Todd Haynes delivering his best directorial effort since 2015’s “Carol”.
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