Only diehard World War II buffs will be able to make it through Anthropoid’s bloated runtime.
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A fitting blend of artistic sensibilities.
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A misshapen misfire for the DCEU.
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Fascinating viewing for anyone with a familial relationship to Germany’s racist history.
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A broadly enjoyable film in a summer with few standouts.
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A grand exercise in precise chaos.
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Interesting from a historical perspective, and McConaughey doesn’t disappoint, but Free State of Jones is a muddled mess of a film.
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A reminder of what an adult Hollywood comedy can look like.
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The year’s best thriller and ecstasy for anyone with a penchant for bloody cinema.
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The Successor is a beautiful film with thematic meat on its bones.
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Future Baby will teach you a thing-or-two about IVF while watching it, but you’ll end up wishing it dug further into the complicated details involved in its subject matter.
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As loose and genial as great films get.
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An ambitious film that lives in the big, mythic moments.
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Miles Ahead is not as essential as Bill Pohlad’s Brian Wilson biopic Love & Mercy from last year, but it’s a fair order better and more entertaining than the usual portrait of a brilliant and troubled musician.
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Like Certified Copy, Like Someone in Love shows that Kiarostami’s cinematic powers are not limited to one language or culture.
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An essential work for anyone with an interest in Iranian filmmaking or art cinema in general.
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Even diehard country music lovers and Tom Hiddleston fans will be severely disappointed.
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Exciting and pleasantly modest for a Hollywood pseudo-sequel.
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Beneath all the mockery lies a tribute to the movies.
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Everything about this movie adds up to nothing.
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