Ant-Man and the Wasp: Quantumania may be a departure for the series of films about the shrinking superheroes, but it embraces the all-ages pulp origins of the comics.
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Mr. Smith Goes to Washington is Frank Capra’s great American political folktale.
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Michael B. Jordan’s Creed III is another examination of what makes a man in a cinematic culture that’s hardly interested in the question.
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Brandon Cronenberg’s Infinity Pool is a transgressive work of body horror that provides a moral critique of the elite through its shocking content.
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Noah Baumbach’s adaptation of the landmark postmodern novel by Don DeLillo fails to deliver despite the enduring relevance of the novel’s subjects and themes.
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The Gerard Butler-starring Plane is a no-frills action thriller that leans into convention to satisfying results.
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Dwayne Johnson’s DCEU superhero film is a pale imitation of a Zack Snyder film, and proof of why the DCEU is being rebooted.
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Kyle Edward Ball’s low-budget experimental horror film is a dissociative nightmare.
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Damien Chazelle’s epic tragicomedy, Babylon, is yet another investigation of the personal cost of art and a wildly ambitious, if uneven, ode to silent cinema.
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Hirokazu Kore-eda transforms what sounds like a dour thriller into a heartfelt examination of forgiveness and what constitutes a family.
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Sean Anders’ musical riff on A Christmas Carol starring Will Ferrell and Ryan Reynolds is a hyperactive, amiable, and incoherent bit of Christmas content.
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Charlotte Wells’ debut feature, Aftersun, is a cinematic act of recollection and a tribute to a father she never properly understood.
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Jerzy Skolimowski’s EO, a remake-of-sorts of Robert Bresson’s Au Hasard Balthazar, creates a portrait of animal personhood in its tale of a donkey passed between owners in modern Poland.
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With Avatar, the biggest film of all time, James Cameron makes a populist blockbuster that works as a cinematic baptism for the viewer.
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In his third deep sea documentary, Aliens of the Deep, James Cameron explores the amazing life forms that thrive in some of Earth’s most hostile environments and paves the way for the next phase of his career.
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James Cameron, Bill Paxton, and a team of explorers return to the wreck of the RMS Titanic to bear witness and memorialize those who were lost.
In Expedition: Bismarck, James Cameron uses the conventions of television historical documentaries to present a portrait of himself as a storyteller and an amateur scientist.
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Titanic is a gargantuan summation of the breadth and depth of Cameron’s cinematic craftsmanship as well as his thematic obsessions.
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True Lies is an outlier in James Cameron’s filmography, but this screwball action-comedy delivers on the action and domestic drama.
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James Cameron’s Terminator 2: Judgment Day is the ur-sequel, the cinematic text that shows what is possible not only in sequel cinematic storytelling, but in the blockbuster movie as a whole.
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