Mayor of Mayhem is an embarrassingly lazy recounting of the Rob Ford saga.
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Danny Boyle and Alex Garland’s return to the world of 28 Days Later reanimates the zombie genre.
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Christopher Landon’s Drop is entertaining, outlandish B-movie fun.
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Fear Street: Prom Queen fails to be anything more than vague nostalgia bait.
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Steven Soderbergh’s spy film plays as a blend between a whodunnit, a John le Carré thriller, and a marriage drama.
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Carson Lund’s Eephus is an elegy for baseball and the impermanence of life.
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Unwelcomed provides a haunting vision of the migration of Venezuelans into northern Chile on a macro and micro scale.
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Nayibe Tavares-Abel’s documentary uses personal family history to trace the recent political history of the Dominican Republic.
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Matt Gallagher’s Shamed is an effective expose of Jason Nassr and online vigilantism.
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This documentary on UFO encounters is too scant to satisfy either newbies or true believers.
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Julien Elie’s documentary about a small Texan town taken over by SpaceX is visually remarkable.
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Bong Joon-ho’s science-fiction satire features a great Robert Pattinson performance but misses the mark when it comes to its political commentary.
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John Frankenheimer’s French Connection II is an intriguing drama, even if it’s somewhat superfluous.
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Osgood Perkins’ black comedy The Monkey runs one joke over and over into the ground.
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The final film in the Tom Hardy Venom trilogy, The Last Dance lacks the arch tone that made the predecessors so fun.
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William Friedkin’s The French Connection remains one of the all-time classics of the New Hollywood era.
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Drew Hancock’s thriller blends sci-fi and slasher conventions in amusing, if minor, ways.
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RaMell Ross’s adaptation of the Colson Whitehead novel is a formally radical work of empathy.
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Mel Gibson’s Flight Risk is the definition of a January release: low-ambition, silly, and decently entertaining.
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Pascal Plante’s psychological thriller is one of the most disturbing movies of recent years.
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