Shazam! Fury of the Gods is an affable sequel, but it also proves the DCEU has well and truly run out of gas.
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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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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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Anders and Aren discuss how Dungeons & Dragons: Honor Among Thieves succeeds as light entertainment, as well as a Hollywood comedy and a fantasy film.
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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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