‘Springsteen: Deliver Me from Nowhere’ may be the worst biopic of the decade thus far. Inert in ways that few movies on “tortured artists” are, the movie is entirely disinterested on the singer’s struggles with depression and the making of his ultimate masterpiece.
Read MoreJafar Panahi crafts his most daring film yet with the Palme d’Or-winning ‘It Was Just an Accident.’ With an admittedly simple premise, the Iranian filmmaker defies authority with simple gestures that speak louder than a thousand words.
Read MoreChris Stuckmann certainly has the cinematic baggage to craft ‘Shelby Oaks’, but he cannot effectively transcend any of the influences he cites in this painfully underdeveloped horror film.
Read MoreMore exhausting than it is compelling, Richard Linklater fails to meaningfully illustrate who Lorenz Hart is in his chamber piece, ‘Blue Moon’.
Read MoreYorgos 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.
Read MoreNoah 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.
Read MoreThe Grabber may have met his maker, but that hasn’t stopped him from clawing his way back to terrorize Finney and Gwen yet again in ‘Black Phone 2’, a horror sequel that provides chilling scares and an exciting expansion of the overarching mythology.
Read More‘After the Hunt’ may be the most contemptuous movie of the year, and that’s precisely why it works. Luca Guadagnino confronts the audience’s conception of the truth and forces them to rethink how they perceive and view movies as he rejects dialogue to focus on the strongest images of his career.
Read MoreFrom director Joachim Rønning, who has blockbuster experience in both the Maleficent and Pirates of the Caribbean franchises, Tron: Ares takes on a visual identity rather unique to the general crop of big movies releasing on a regular basis nowadays
Read More‘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.
Read MoreFor better or worse, ‘The Oval Portrait’ is the exact sort of film which a Hammer horror fan will appreciate.
Read MoreThanks 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.
Read MoreShane 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.
Read MoreWhile ‘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.
Read More‘Sunny Side Up’, a short film at this year’s Seattle Film Festival, is done with such masterfulness that its baffling that such a beautifully well acted, and whimsically playful film was made under a budget of just five hundred Euros.
Read More‘Anyhing Helps’ may not illustrate how to solve the problem of global homelessness, but it does show that communication and the love emulated from simple companionship can go a long way as a first step.
Read MoreUltimately, despite a strong premise, ‘Him’ ends up throwing a Hail Mary, which, if not fumbled, undoubtedly could have been more interesting than the end result.
Read MoreWhile ‘Wake Up Dead Man’ doesn’t quite live up to the lightning in a bottle that was the original Knives Out, it is certainly a worthy sequel. Its serpentine plot, laugh-out-loud sardonic tone and cast of memorable characters will please any cinematic detective.
Read MorePark Chan-Wook redefines his filmography with his adaptation of Donald Westlake’s ‘The Ax’ in ‘No Other Choice’ and offers a once-in-a-generation lesson of pure cinema that anyone who appreciates the art form must see.
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