Despite an assured visual style, Steve McQueen’s latest fiction film, ‘Blitz’, is an often muddled and dull drama that doesn’t know what it wants to say about the central characters it focuses on.
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Clint Eastwood gives aspiring filmmakers a true lesson in shot-reverse-shot with ‘Juror #2’, a gripping procedural thriller on the fallacies of our legal system(s).
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Liam Neeson gives his all for the first time in a long time in ‘Absolution’, even if the material he has to work with tends to be on the muddled side.
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Robert Zemeckis teams up with Tom Hanks and AI, but the garish experiment simply becomes non-linear, static and a complete miss. The resulting film is ‘Here’, and it is just as baffling as you think.
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Andrea Arnold turns her social realist lens into a magical one with ‘Bird’ and fails at drawing any meaningful arcs on its central characters despite a constantly assured stylistic touch.
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Eddie and Venom are back on the big screen for one final adventure in ‘Venom: The Last Dance’, a conclusion that is emotionally limp and easily the weakest of the trilogy.
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Nick Park and Merlin Crossingham warn society against the use of Artificial Intelligence through the figures of Wallace and Gromit in their latest feature, Vengeance Most Fowl.
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Mohammad Rasoulof confronts and rejects state propaganda in his daring and courageous The Seed of the Sacred Fig and makes the most critical piece of political media of the decade so
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Jacques Audiard attempts to depict the tragic story of its titular character in ‘Emilia Pérez’, but the narrative/aesthetic results are constantly baffling and, more offensively, deeply transphobic.
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The aptly named ‘Smile 2’, Parker Finn’s sequel to the successful ‘Smile’ offers new themes and great performances, although it can still a feel a bit too familiar.
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While ‘Goodrich’ is nothing completely unique, it flourishes due to the charisma and gravitas of Michael Keaton, resulting in a tried-and-true kind of family drama, amplified by scattered moments of genuine resonance along the way.
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Art The Clown is back to terrify audiences yet again in 'Terrifier 3', a sequel that is not only bloodier than its predecessors, but more entertaining and ambitious as well.
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Sebastian Stan transforms into Donald J. Trump through the origin story of one of the most crooked individuals in the history of the United States, in ‘The Apprentice’.
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After making a billion dollar splash at the worldwide box office in 2019, director Todd Phillips and star Joaquin Phoenix have returned to Gotham with 'Joker: Folie a Deux', a sequel that is as bold as it is incredibly frustrating.
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Shallow, bloated, and utterly pretentious, Francis Ford Coppola's 'Megalopolis' is the biggest refutation of the auteur theory since 'Beau is Afraid'.
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Kate Winslet gives one of the best turns of her career as renowned photojournalist Lee Miller in Ellen Kuras’ feature directorial debut, 'Lee'.
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Samara Weaving keeps the blood count piling up in E.L Katz’s 'Azrael', but the film’s silent gimmick hampers its momentum.
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Sebastian Stan continues to do great work in the independent sphere with an often engrossing, though underwhelming, character study in Aaron Schimberg’s ‘A Different Man’.
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While 'SUPER/MAN: The Christopher Reeve Story' adopts a fairly conventional presentation and a surface-level exploration of the actor’s life, its inspirational (and tear-inducing) qualities are undeniable.
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George Clooney and Brad Pitt keep the charm and fun moving in Jon Watts’ 'Wolfs', even if the movie itself offers mixed results.
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