The Salesman works as a great introduction to Farhadi’s films, while being doubly-rich for those familiar with his previous work.
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About as good an actors' showcase as you'll get this year.
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The rigorous application of technology is fascinating, even if its results are mixed.
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Arrival is both formally astounding and emotionally resonant.
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Elle is merely a good bit of trash dolled up with an artful sheen.
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Wonderfully observant and particular filmmaking.
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Not even a fan of mindless comedies will be able to sit through this one.
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The Lovers and the Despot tells a fascinating story in a mediocre manner.
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Authentic and intelligent, while still providing rollicking entertainment.
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There's little to recommend In Order of Disappearance beyond its amusing opening and the presence of Skarsgard.
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Focused, formally impressive horror.
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In the dog days of August, Southside with You proves an enjoyable romantic drama.
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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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Undeniably stupid, but still fun and arguably camp.
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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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