The Flash is another Hollywood blockbuster mediocrity and the messy end to the DC Extended Universe.
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Louis Leterrier’s Fast X is most distinctly an overlong franchise jumble.
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Graham Foy’s The Maiden is a remarkable debut feature and the kind of mysterious drama that provokes the same profound reaction as our most vivid, consequential dreams.
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Paul Schrader ends his “Man in a Room” trilogy with Master Gardener, which is simultaneously the most challenging and optimistic of the trilogy.
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Matt Johnson’s BlackBerry is a rollicking, self-aware, gutsy good time.
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Adrian Murray’s Retrograde is a subdued micro-indie that’s too limited by its style and approach.
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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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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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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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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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The Gerard Butler-starring Plane is a no-frills action thriller that leans into convention to satisfying results.
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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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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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