Sofia Coppola doesn’t pretend to be objective in her portrait of Marc Jacobs in ‘Marc by Sofia’, and the film benefits from her subjective perspective on the iconic fashion designer.
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Arguably, ‘The Super Mario Galaxy Movie’ may do its job, entertaining fans and younger viewers, but it lacks a heart, and ultimately just doesn’t feel worth the price of admission. At the end of the day, playing these games may be time better spent, allowing viewers to instead immerse themselves as players.
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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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Thanks to its masterful framing and an impeccable lead performance from Aleksandr Kuznetsov, Sergei Loznitsa’s ‘Two Prosecutors’ overcomes its rather telegraphed conclusion and its alienating structure to become a powerful historical drama that asks its audience not to forget.
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Michel Franco’s ‘Dreams’ fails to meet the moment with a mostly empty erotic drama that takes a repulsive turn near its allegedly shocking denouement.
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Awful in almost every conceivable way, ‘Psycho Killer’ is a note-perfect exercise in screwing things up from the get-go and never recovering as it trudges through a ridiculously inert conclusion.
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Thanks to incredible, career-best performances from Alexander Skarsgård and Harry Melling, Harry Lighton’s ‘Pillion’ overcomes a relatively conventional story with a transgressive approach to sexuality and offers a glimpse of a world audiences rarely see depicted in mainstream cinema.
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After a long absence, writer/director Bart Layton is back with ‘Crime 101’, a refreshing and old-fashioned crime thriller that thankfully doesn’t waste a tremendously good cast.
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Despite a well-mounted cast and a cogent subject matter that should theoretically work in the hands of such an assured genre stylist, Gore Verbinski’s ‘Good Luck, Have Fun, Don’t Die’ is an excruciatingly dull sci-fi comedy with a refusal to say anything meaningful.
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Thanks to a deeply affectionate turn from Carmen Maura, Maryam Touzani’s ‘Calle Málaga’ will tug at your heartstrings and perhaps break you into a million pieces until you are renewed by a feeling of hope and tenderness.
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With an intriguing young cast, including Daphne Keene and Sophie Nélisse, and a somewhat original premise, Shudder’s ‘Whistle’ shouldn’t just be background noise. But it is.
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Despite star Charli XCX’s well-documented cinephilia, ‘The Moment’ struggles to find a strong cinematic identity
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Thanks to a committed (French-speaking) performance from Jodie Foster, Rebecca Zlotowski’s ‘A Private Life’ is an intriguing mystery film.
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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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Screenlife auteur Timur Bekmambetov attempts feats of ingenious IMAX 3D artistry with ‘Mercy’, but the results fall so flat they become unintentionally laughable.
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Director Nia DaCosta’s take on the ‘28’ franchise brings bold tonal swings and dials up the madness in the latest sequel, ‘28 Years Later: The Bone Temple’.
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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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Nicholas Hytner’s ‘The Choral’ shines when it focuses on its protagonists ruminating on the casualties of war, but not so much when drawing character relationships inside the titular choir.
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Jim Jarmusch crafts his best movie since 2003’s ‘Coffee and Cigarettes’ with ‘Father Mother Sister Brother’, but the end result of his latest anthology effort is still much wobblier than what we used to expect from the American filmmaker.
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