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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Den of Thieves 2 is another entertaining riff on classic crime movies and a showcase for Gerard Butler’s relatable grubbiness.
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Brady Corbet’s new American epic is ambitious, to be sure, but lacks dramatic rigour.
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James Mangold’s A Complete Unknown captures the enigma of Dylan and proves the appeal of the musical biopic genre.
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Jaume Collet-Serra’s new Netflix thriller is a riff on Die Hard 2 and a genuinely watchable action thriller in a lacklustre streaming environment.
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Wicked is doomed by the decision to inflate Act 1 into an entire 160-minute film.
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