Makoto Shinkai’s remarkable new anime, Suzume, is defined by striking visuals and a compelling blend of fantasy adventure and contemporary character drama.
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Time Bomb Y2K is an easygoing primer on the Y2K panic composed entirely of archival footage.
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Benoît Bringer’s The Rise of Wagner investigates the history of the Wagner Group and its war crimes committed in Syria, Ukraine, and African Central Republic.
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Martín Benchimol’s The Castle is an eclectic and dryly humorous examination of life in a decaying manor in the Argentine countryside.
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Laura Gabbert’s documentary with food writer Ruth Reichl exposes the precarious state of North America’s food supply.
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Kathleen Jayme and Asia Youngman’s I’m Just Here for the Riot examines the social consequences of the 2011 Vancouver Stanley Cup Finals riot.
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The Longest Goodbye examines the psychological toll of space travel through the work of NASA’s Dr. Al Holland.
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Kay Lena Ndiaye’s documentary on the CFA franc is handsomely mounted, but lacks specificity and a clear thesis.
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Zhang Jialing’s Total Trust is a claustrophobic, challenging portrait of life under the totalizing Chinese surveillance apparatus.
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Ananta Thitanat’s slow cinema documentary on the dismantling of the Scala theatre in Bangkok plays like a non-fiction version of Tsai Ming-liang’s Goodbye, Dragon Inn.
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Steve J. Adams and Sean Horlor’s Satan Wants You presents the origin story of the Satanic Panic as a slick true crime thriller.
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Georges Hannan’s Undertaker for Life! attempts to lift the veil on the world of morticians, but refuses to engage with the visceral discomfort of death.
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Daniel Goldhaber’s adaptation of the nonfiction book, How to Blow Up a Pipeline, works well as both a taut procedural drama and a work of moral-political questioning.
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John Wick: Chapter 4 is as much endurance test as action epic, but it still delivers the excellent action choreography we expect of the series.
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Clint Eastwood’s Sudden Impact, the fourth Dirty Harry picture, combines the rape-revenge film with the reactionary cop picture to fascinating results.
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Chander Levack’s I Like Movies is a coming-of-age film that relies on the specificity of its character and setting to compensate for its conventional narrative.
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Davy Chou’s Return to Seoul is an intimate examination of a troubled young woman.
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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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