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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Albert Brooks’s film is an amusing, if ultimately unsatisfying, comedy about what happens after death.
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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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Joseph: King of Dreams should enjoy heavy rotation among families who want to show Bible movies to their children.
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The narrative surrounding its Oscar win and its reputation as a crime flick have come to mask what a remarkable work The Departed is.
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Retelling a Sami legend, Nils Gaup’s Pathfinder is both an act of cultural preservation and a thrilling action-adventure.
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Sydney Pollack’s Best Picture winner feels like a film of a different age, and is all the better for it.
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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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Our world is too fragmented and our cinema too convoluted to allow for movies as simply, competently fun as Men in Black.
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Wim Wenders’ Perfect Days is a beautiful corrective to the busyness of everyday life.
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The 2011 movie version of Mr. Popper’s Penguins shows little interest in the classic children’s book, let alone affection for it.
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Night Nurse starring Barbara Stanwyck is a reminder of the salacious storytelling of pre-Code Hollywood.
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Cord Jefferson’s American Fiction strikes a delicate balance between hilarious satire and understated family drama.
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Shipwrecked is a competent boys’ own adventure, played without irony, revisionism, or computer-generated fakeness.
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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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Contradiction is the governing thematic and formal design for Bradley Cooper’s Leonard Bernstein biopic.
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Chicken Run: Dawn of the Nugget is decent entertainment, but a significant step down from the original film.
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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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Although there are plenty of enjoyable Zack Snyder trademarks, the final result is never enough of its own thing.
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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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