Matt Sarnacki’s documentary traces the explosive fallout of the murder of Slovakian journalist Ján Kuciak and his fiancée Martina Kušnírová on February 21, 2018.
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Sean Wang’s film provides a concrete example for abstract discussions of “global supply chains.”
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Cody Sheehy’s documentary about Dr. He Jiankui is saved by the strength of its subject matter.
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Shameela Seedat’s African Moot uses its seemingly low stakes competition as a microcosm for the larger legal world.
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Windfall is a minimalist thriller whose modest dramatic tension is thrown off balance by its miscasting.
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Netflix’s stop-motion anthology film is often chilling, occasionally amusing, and visually intricate.
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Richard Linklater’s Apollo 10 ½: A Space Age Childhood offers a warm hug of 1960s space age nostalgia.
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Ti West’s X is a nasty, entertaining slasher with well-developed characters and some surprising moral commentary.
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Matt Reeves’s take on Batman is brooding, stylish, and refreshingly cinematic.
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This 2015 documentary about Ukrainian Pastor Gennadiy Mokhnenko asks the question: what does it look like to live out the gospel in the modern world?
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The new Texas Chainsaw Massacre requel is stylish and short, but it has a dearth of compelling characters and story at its centre.
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Steven Soderbergh’s new techno-thriller set during the pandemic is timely and stylish, but narratively predictable.
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Joachim Trier’s The Worst Person in the World expresses the ineffable in ways that are rarely achieved on film.
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Warren Beatty’s political satire, Bulworth, finds new relevance in a post-Trump world.
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Spider-Man: No Way Home is fun as a movie, but troubling as a statement about where Hollywood is headed.
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Matt Bettinelli-Olpin and Tyler Gillett’s “requel” of the Scream series doubles down on the meta aspect of the series to entertaining effect.
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Under Siege may be Steven Seagal’s best movie, but it’d be much better if he wasn’t in it at all.
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Anders Thomas Jensen’s action dramedy starring Mads Mikkelsen handles character drama and emotional growth in surprising and moving ways.
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Lana Wachowski’s legacy sequel is a meta-investigation of the meaning of the franchise and an idiosyncratic science-fiction romance.
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The problem with Adam McKay’s political satire isn’t that it’s not satire, but that it’s toothless satire.
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