Christopher Schobert

While Glass Onion is not better than the 2019 outing, it is almost as enjoyable––a noteworthy victory in and of itself.

Roman J. Israel, Esq. might not be the courtroom drama fans have been expecting. Instead, it’s a character study filled with insight and originality.

Thornton establishes himself as a director to watch, and with fine performances from Neill, Brown, Gorey-Furber, and, especially, Hamilton Morris, also reveals an ability to make an epic tale feel deeply personal.

Smith expertly weaves the words of Mothersbaugh and Casale with film clips, old commercials, and, eventually, actual footage of the band’s earliest days to clarify what de-evolution, Devo-style, was all about.

We the Animals is most effective when it breaks free from conventional storytelling and relies on image, sound, emotion, and mood.

Rental Family could have gone deeper, darker, and more boldly into the oddities of the human rental market. But that would be a different film. It seems silly to come down too hard on this good-natured comedy-drama––especially for offering a much more impressive performance than the one that earned Fraser an Oscar.

Red Penguins is utterly stuffed with memorable stories and unforgettable people. Therefore, the film is unquestionably entertaining for hockey fans. However, it has no more gravitas than, say, any random ESPN Films “30 for 30” entry.

Driven is a well-told, strongly-acted drama with real heart.

Interestingly, of all Disney’s recent live-action adaptations, Mulan is probably the one that would have benefited most from the big screen.

The Mad Women’s Ball represents a noteworthy achievement for Laurent—a tremendously compelling, emotionally shattering period piece bearing at least three mighty performances from de Laâge, de Dietrich, and herself.

It takes great maturity and confidence to make a film about the emergence of a young woman’s sexuality that also dares to ask complex, provocative questions while understanding there are no simple answers. Suzanne Lindon is such a filmmaker, and her brisk, entertaining debut Spring Blossom is such a film.

Cleverly constructed and bursting with well-planned action sequences–the carnival brawl near the film’s end is positively delightful–Birds of Prey is the rare comic book adaptation directed with a real, tangible vision. And as Quinn, it’s hard to imagine anyone else than Robbie bringing her mix of middle-finger savagery, surprising vulnerability, and utter likability to the role.

Onward is a spring treat that might not lead to sequels or boffo merchandise sales, but will certainly please families and the Pixar faithful. Debating whether the film is “classic Pixar” is silly. Put those concerns aside and you’ll be rewarded with the first great family film of 2020.

While Robinson’s full-length feature as star does not reach his show’s highs, it’s still a hysterically funny, pitch-black comedy.

Saint Frances is a character-driven effort that tackles big themes in a wonderfully down-to-earth manner. That’s a tricky balancing act, but Thompson and O’Sullivan pull it off.

Whether you know the truth going in or not, My Old School is a hugely entertaining charmer.

A sturdy, small-scale thriller that makes little lasting impact but certainly succeeds in providing some clever jolts.

North of Normal is an affecting drama about the life-altering impact of a youth in the wild. Happily, it embraces subtlety rather than over-the-top histrionics, resulting in a study of teenage wildlife that resonates strongly.

It is impossible to find a great deal to criticize here. Harvey succeeds at making the audience get to know and care about the Dorset players while also building genuine suspense as the West End debut draws near.

When Molly’s Game is good, it’s very, very good. There are dazzling moments throughout, and it’s clear that Sorkin is having a blast. Much of the film is downright intoxicating, just like the world Molly Bloom found herself in.

Jeremiah is bouncy and pleasing, if overfamiliar and never as insightful as one would hope.

While Wake Up Dead Man fails to reach the highs of Knives Out and Glass Onion, it nevertheless solidifies Johnson’s reliability to deliver thoughtful thrills.

In many ways Lee is a perfect festival crowd-pleaser––handsomely made, well-acted, based on a true story, filled with recognizable stars. While it is not a great film, it is undoubtedly a good one, and that’s enough to warrant a recommendation.

Kidman gives one of her best performances, and Kusama keeps us interested even when we know what’s coming.

The result is a smart, emotionally satisfying exploration of people who may no longer have a place in modern Las Vegas.

You Don’t Nomi is another essential chapter in the Showgirls story–and completes the cultural reappreciation the film deserves. How can one not appreciate a film so devoted to “doggy chow,” chips, and ice cubes?

Pirates is a fine film, and for Peters, Edusah, Elazour, and director Yates, it is undoubtedly a preview of even greater successes to come.

The film is a slick affair––a little too slick. There is little subtlety here, and more would have made for a stronger film, especially when the onscreen interviewees include someone as extraordinary as Evelyne Haendel. Nevertheless, there is no denying the engaging watchability of Misha and the Wolves.