Bertrand Bonello’s The Beast starring Lea Seydoux and George MacKay is a fascinating, messy film that imagines a captivating romance and an intriguing, if not entirely credible, future.
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Colin and Cameron Cairnes’ Late Night with the Devil has a brilliant stylistic conceit that makes it a compelling take on the found-footage horror subgenre.
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Seagrass is ultimately compelling because there are enough moments of artistic expression and perceptive character building to balance the more didactic storytelling.
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Wim Wenders’ Perfect Days is a beautiful corrective to the busyness of everyday life.
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Cord Jefferson’s American Fiction strikes a delicate balance between hilarious satire and understated family drama.
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Atom Egoyan’s Seven Veils is a vital, messy piece of self-expression from the Canadian auteur.
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Wonka is more like Paul King’s Paddington movies than either Gene Wilder’s 1971 adaptation or Roald Dahl’s original book.
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Takashi Yamazaki’s Godzilla Minus One works as a compelling postwar drama as well as an exciting kaiju picture.
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The Boy and the Heron, Hayao Miyazaki’s latest masterpiece, beautifully poses the question of how do you live in a broken world?
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The Holdovers is something of a Christmas miracle: an Alexander Payne movie that doesn’t have contempt for its characters.
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Gareth Edwards’ The Creator borrows liberally from other, better films, but it’s strikingly relevant in our present moment.
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Talk to Me hides some clever commentary on the dissociation of Gen Z in its creepy seance scenario.
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Barbie is a summer confection that never resolves the contradictions behind its approach.
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Oppenheimer is a biographical epic that is also distinctly a film by Christopher Nolan.
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Mission: Impossible – Dead Reckoning Part One has industry-leading actions sequences, but the structure and length demonstrate the bloat that has infected all of Hollywood.
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Does the modern world need Indiana Jones?
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The Flash is another Hollywood blockbuster mediocrity and the messy end to the DC Extended Universe.
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Louis Leterrier’s Fast X is most distinctly an overlong franchise jumble.
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Graham Foy’s The Maiden is a remarkable debut feature and the kind of mysterious drama that provokes the same profound reaction as our most vivid, consequential dreams.
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Paul Schrader ends his “Man in a Room” trilogy with Master Gardener, which is simultaneously the most challenging and optimistic of the trilogy.
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