‘Asteroid City’ is another triumph for writer/director Wes Anderson, solidifying his status as one of the greatest (and quirkiest) auteurs of our time.
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After a bumpy road to the silver screen, audiences are finally able to see ‘The Flash’, a superhero film that has glimmers of brilliance, but buckles under its own ambition… but at least it has Michael Keaton.
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Ben Kingsley and Barbara Sukowa give impassioned performances in ‘Dalíland’, an otherwise dull film that gives little insight into the mad genius of Salvador Dalí.
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Celine Song’s ‘Past Lives’ is anchored by incredible performances from Greta Lee and Teo Yoo, who bring massive amounts of humanity to their respective characters.
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The Autobots have returned to the silver screen yet again in ‘Transformers: Rise of the Beasts’, a sequel that maintains the refreshing new tone ‘Bumblebee’ established, albeit with diminishing returns.
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Director Rob Savage takes a crack at PG-13 horror in ‘The Boogeyman’, a relatively tame and predictable horror movie featuring a roster of one-note characters and uneventful jump scares.
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All in all, Bones of Crows is a challenging, harrowing portrayal of suffering, but the film does not wallow in that suffering either. The film might one day be considered a time capsule of how things used to be, and its very existence might one day serve as an example of how things eventually got better.
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Ever since Spider-Man: Into The Spider-Verse was released in 2018, animated movies have been held to an entirely new standard. Could it’s highly anticipated sequel Across The Spider-Verse: Part 1 make the comics feel vibrant once again and match the original?
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Since it was first announced, Disney’s live-action The Little Mermaid has been swimming against a seemingly impossible current. Yet this live action remake is a massive success as it tastefully recontextualizes the original story, while delivering a bold new vision.
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Joel Edgerton and Quintessa Swindell give career-best performances in Paul Schrader’s ‘Master Gardener’, an otherwise bizarre film that doesn’t really know what it wants to talk about.
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Vin Diesel and his eclectic crew are back for yet another instalment in the beloved ‘Fast and Furious’ franchise in ‘Fast X’ - delivering more of the high octane stunts and emotional stakes fans have come to know and expect.
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‘Blackberry’ has no right to be as good as it is, but its frantic style, masterful performances, and tight script make it one of the very best, if not the best, biopic of the year.
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Benjamin Millepied’s ‘Carmen’ is a visual marvel, with career-best performances from Melissa Barrera and Paul Mescal giving massive amounts of humanity to its intricate dance sequences.
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‘Guardians of the Galaxy, Vol. 3’ ends the best MCU trilogy on the highest of notes, delivering a surprisingly dark and mature comic book movie with stellar performances from Dave Bautista, Bradley Cooper and Chukwudi Iwuji.
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One cannot deny that ‘Are You There God? It’s Me Margaret’ was made by talented people - both in front of and behind the camera - who were interested in telling a complex story without simple answers.
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While ‘Peter Pan & Wendy’ rights many wrongs perpetuated by Disney’s 1953 animated film, it’s also a dour remake filled with risible performances, poor cinematography and nausea-inducing editing.
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Dexter Fletcher’s ‘Ghosted’ doesn’t feel like an actual filmmaker directed it but as if it were constructed by an A.I. who recently learned what the word “content” means.
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Director Ari Aster has described ‘Beau is Afraid’ as a “nightmare” - and to give him credit, that is an apt description, but not in the way that he probably intended. The film feels exactly like one of those incoherent fever dreams which you only half-remember after it’s over, and quickly forget as you go about your day.
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Director Guy Ritchie delivers a departure from his usual fare with ‘The Covenant’ - A harrowing and emotionally compelling war story that gives a new meaning to “no man left behind”.
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Daniel Goldhaber’s ‘How to Blow Up a Pipeline’ mixes a thoughtful social commentary on our fossil fuel-laden society with the anxiety-ridden structure of a Safdie Brothers’ film with staggering results.
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