Brian Tallerico

This is more than mere fan service slide show. It is a joyous, infectious story of the human capacity to change, and the importance of creative freedom to guide that change.

It sometimes feels like Palmason is being a bit self-indulgent with his slow pace, but Ingvar Sigurdsson keeps the film grounded, and ends it with such a devastating, powerful final shot that it alone erases most criticisms. It may take a bit longer than it needed to get there, but the destination packs a wallop.

A solid adult drama, a movie that’s too soft at times but more often tender with its characters. It’s not a film designed to break any new ground, but Wight has skill with character, finding nuance in those moments that many other writer/directors would have turned into pure cliché.

It’s a movie for the kids to watch after overdosing on Easter candy, and there’s something to be said for watching a movie this unapologetically bright in a world that feels pretty dark right now.

Expertly editing together moving interviews with its subjects with archival material, Crip Camp: A Disability Revolution becomes a commentary on how to change the world. It’s not just common human decency that should lead to equality for disabled people, but the truth that empowerment for everyone is the only path to true progress for anyone.

As we see how society functions (or fails to do so) in the face of one of history’s most devastating crises, take some time out and watch The Platform, a funhouse mirror reflection of our world.

There are elements here, most of them embedded in another great physical performance from Garret Hedlund, that keep Burden from completely sinking into the Carolina mud.

It’s not hard to think that there could be an interesting remake of “Going Places” or an interesting spin-off “The Big Lebowski” to be made — it’s just that this film doesn't work as either.

Inert to such a degree that one wonders if the film has been slowed down, The Night Clerk doesn’t really go anywhere, truly disappointing for how much it wastes the talents of its young stars on a movie that doesn’t deserve them.

It’s a film with alternating shots of Katie Holmes looking scared and the doll looking creepy. Rinse and repeat. And it becomes so tediously boring that your mind will wander.

It’s just funny, sweet, and smart — three things that this father of three doesn’t get to say often enough about entertainment while watching movies with his kids.

While this isn't another Garbus documentary, she’s made a film with all the power of great non-fiction storytelling, and found a way to make the emotional message of this story hit home in a way that it wouldn’t have otherwise.

One of those quick-witted films in which if one character or plot thread doesn’t work for you, all you have to do is wait a minute for another.

I’m not sure the ending lands, and some of the tonal jumps could have been refined, but there’s so much movie here to unpack and discuss.

Wendy is a repetitive, shallow film, a children’s fable that means way more to the child who dreamed it up than it will to you.

With stunning performances from two completely genuine young leads, this is a movie people will talk about all year.

At least, director Gille Klabin tries to amp up The Wave with aggressive visual style, but it’s still a movie that’s rotten at its core because it suffers from the same problem of all those “American Beauty” clones in that it never satisfactorily answers the question “Who cares?”

Underwater absolutely bullies you into liking it. There's no time not to.

Whatever one thinks of “The Last Jedi,” if that film was trying to build a new house on familiar land, this one tears it down and goes back to an old blueprint. Some of the action is well-executed, there are strong performances throughout, and one almost has to admire the brazenness of the weaponized nostalgia for the original trilogy, but feelings like joy and wonder are smothered by a movie that so desperately wants to please a fractured fanbase that it doesn’t bother with an identity of its own.

6 Underground is definitely some awfully loud shit.

Like the songs sung by its young cast, Knives and Skin feels like cinematic karaoke, lacking in authorship or deeper meaning. The cast, two actresses in particular, give it their all, but it is an aggressively hollow experience.

It takes great effort to find what interested director Wash Westmoreland and company in the source material in the first place, but it feels like a project that reaffirms something I’ve long argued: just because something works in one medium doesn’t mean it will in another.

It’s certainly like nothing else you’ll see this year.

Intercutting interviews with Marcos and her son with archival footage and other experts on the Marcos regime, Greenfield has put together her best film yet.

The best thing about Flanagan’s film by some stretch is the work by Rebecca Ferguson. The director of “Gerald’s Game” and “Hush” proves again to be a very capable filmmaker when it comes to directing actresses, getting Ferguson’s career-best work to date.

It’s easy to see why even Blum wanted to forget The Gallows: Act II. It may be his company’s worst film.

A lovely companion piece to the latest album from the legendary musician, a gorgeous, introspective journey into the very concept of the American conscience.

Sure, I was never bored, but this movie makes zero sense, and contains some shockingly bad filmmaking, acting, writing ... pretty much everything. It is remarkably grisly and violent, containing a body count that tops the double digits, and almost all of the victims of its quality kills see their insides before they die.