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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Derek Drymon’s name is one that longtime SpongeBob watchers have undoubtedly seen pop up on their favorite episodes. Now as director of ‘The SpongeBob Movie: Search For SquarePants’, not only did he deliver a fun film, but one in the same vein as the cartoon’s glory days.
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‘Marty Supreme’, which marks Josh Safdie’s solo directorial debut is equal parts ambitious and assured, making for one of the best films of the year.
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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 Brendan Fraser gives an impassioned performance in ‘Rental Family’, the movie itself is not as heartwarming as it sets out to be.
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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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Jon M. Chu and his eclectic cast return to the magical world of Oz to deliver what amounts to nothing but an overly infantile and ultimately dishonest adaptation of its source material in ‘Wicked for Good’.
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Oz Perkins has yet to make something worthwhile in the opinion of our Maxance Vincent, but with his sixth feature, ‘Keeper’, the film could be the worst project he has ever helmed.
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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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‘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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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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Sydney Sweeney and Ben Foster are spectacular in David Michôd’s ‘Christy’, but that’s about all this tediously generic sports-biopic has going for it.
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‘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.
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Jafar 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.
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Chris 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.
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