Dominick Suzanne-Mayer

Queen & Slim is a traditional road movie with decidedly untraditional inclinations, a romance framed against stark realities. But it’s equally a political act, a film whose very existence demands questions about the ways stories like it are typically told, from whose perspective, and perhaps most valuably of all, for what audience.

While the film’s intentions are noble, and its story worth retelling, it struggles throughout to lend a lasting weight to its straightforward plotting.

The Dead Don’t Die is a zombie movie of an odd stripe, and for all its blatant synthesizing of influences, it never shakes off the impression that it’s working out exactly what it wants to be as it goes along.

Fails is unsurprisingly exceptional given his relationship to the material, shaping the film’s overall tone as he goes along, portraying a kind of existential tour guide for a place that at once still stands, is being torn down every day, and never quite existed at all.

While the charm of Always Be My Maybe can and should be attributed to its performers, there’s a real sweetness in its reframing of the romantic comedy as the struggle of two people who already have fulfilling lives, attempting to add to them by rediscovering lost pieces of themselves in each other.

It’s a nasty piece of work, and one that at the very least stands as an active interruption of the escapist, family-friendly superhero fare currently dominating the industry.

The Souvenir‘s power is deceptive, in a way; it’s only at the film’s end, at the moment of its bracing final image, that its ideas and genre subversions come fully into focus.

As a family movie, Detective Pikachu is enjoyable enough. But if the Pokémon games drew players into the world through immersion, it’s then strange that the first major live-action adaptation frequently races through those moments of immersion in order to get to the next sequence of middling buddy-cop banter.

Endgame manages to effectively deliver reunions alongside farewells, fan service alongside the kind of storytelling which needs to occur in order for the whole billion-dollar machine to keep a’grinding, and a handful of sincere, honest-to-God surprises that make the grandeur of the whole thing feel justified.

Grass Is Greener may ultimately be preaching to the chorus, but its simple messaging could draw in people who enjoy getting high, but aren’t fully aware of the broader political implications. As uses for streaming services go, there are far worse ways to burn down an afternoon.

As with so many Laika films, you’ll come for the breathtaking animation, and you’ll leave both enchanted and surprised by the big, beating heart beneath it.

Sunset is difficult filmmaking, the kind which almost seems impenetrable at times. But if you’re willing to meet Nemes on his level, the film’s rich textures will eventually prove themselves beguiling.

Apollo 11 is a great documentary, and its greatness can largely be attributed to the stunning archival scenes compiled within it. It’s impossible for anybody who wasn’t there to truly understand what it felt like to see Apollo 11 complete its travels, but for at least 93 endlessly arresting minutes, Apollo 11 does its very best to put you right there.

Between its continuous insistence on broad humor and its lack of broader context about the industry period in which Paige came up (she was among the first womens’ wrestlers in WWE to break out when the division gained traction after years of public degradation), Fighting With My Family ultimately reveals itself as a shallow take on a genuinely fascinating story.

Like its unstoppable heroine, Alita: Battle Angel is something strange and unique and special, built from the finest repurposed parts.

While it’s a reasonably paced thriller, The Prodigy is almost wholly devoid of real scares.

Throughout Piercing, it’s never clear who’s getting played, at least except for the audience. Those with the stomach for what Pesce and his stars have to offer will likely give over to the rush of it, as the film plays fast and loose with expectations at every turn.

The little beats throughout Cold Pursuit are distinctive enough to cover for this gory caper’s periodic misfires.

Although its leads find the odd moment of charm together, even Kidman in what’s somehow the worst-shaded part of all three, The Upside fumbles far too often when it attempts to enlighten or edify its audience.

It’s also not all that good, even if it’s hardly the kind of “bad” that most would get riled about. Escape Room is cut from one of Hollywood’s most familiar cloths: the “mall horror” movie.

When people talk about Hollywood movies feeling more and more like product, this is what they’re driving at.

There’s not an ounce of wasted motion to be found throughout Cold War. Pawlikowski moves at a fleet pace, trusting in his audience to fill in the gaps that the film’s understated storytelling leaves along the way.

As with any number of popular YA novels-turned-feature films, Mortal Engines has a wealth of possibilities and curious ideas at its disposal. Instead, it tears past them in pursuit of some of the subgenre’s most exhausted narrative tropes, chewing up everything engaging as it grinds along.

There’s a breathless sense of discovery and play that makes the film seem new, even as it’s tap-dancing through the imprints of so many sci-fi stories throughout the years. Simply put, superhero movies don’t often carry this sense of possibility anymore.

There’s nothing particularly memorable about Robin Hood even when you’re laughing at it, and that may be one of the saddest fates a movie can meet.

The Front Runner is a naively misguided product of panicked, desperate modern times. But perhaps even worse, at least for the type of film it wants to be, it lands somewhere between irrelevant and a woeful misreading of the room.

There’s a thoughtful, kid-friendly parable about the hazards of internet fame somewhere in Ralph Breaks the Internet, but its aim is so scattershot that it only emerges in fits and starts.

Boy Erased finds its best stuff when it matches the unabashed earnestness of Jared, and of Hedges’ performance. The film isn’t so much preaching to the converted as begging the ones who aren’t yet to finally come over and stand on the right side of history.

This is despairing filmmaking, but also the kind that arrests the eye from its first moments. Lee has made something rare here: a portrait of poverty that treats its subjects not as victims or as aggressors, but simply as pawns of a far grander social scheme than any of them can possibly comprehend.

It’s about how reality invades our dreams, and how the people we trust teach us to be less trusting as we get older. Tan plays these themes out with a rare emotional honesty, never allowing the fact that it’s a deeply personal work to prevent her from indicting herself alongside any of the other key players involved.

What They Had is an indie drama of a familiar cut, delivered so well that you’ll forgive its smaller inconsistencies.

This is punishing filmmaking, both in its sense of overwhelming despair and in its all-too-physical violence, but what sets Apostle apart from being an especially well-shot exploitation feature is its interest in the ideals behind the violence we perform on one another.

As a fish-out-of-water comedy, it’s effectively funny more often than it isn’t, and as an ode to the unlikely communities that arise around black metal, it’s entirely sincere in its intentions.

A Star is Born isn’t a new love story, or even an especially unique one. But it’s a traditional love story told supremely well, and sometimes that’s exactly what audiences go to the movies to see.

There’s a strangeness to certain passages of Sisters that bolsters it through its seedy saloons and cacophonous firefights, and it constitutes the best the film has to offer.

Mandy is destined to live forever as a cult favorite, but what’s going to set it apart from so many others is the way in which Cosmatos sustains the emotional stakes of Red’s quest through the entire film.

White Boy Rick is a collection of interesting enough scenes in desperate need of a more cohesive framework.

Lizzie isn’t exactly an exciting film, but it’s absolutely a compelling one. Much of that, again, emerges from Sevigny’s work, who finds the notes of delicacy that the film around her occasionally lacks.

If Peppermint has one thing going for it, and it’s by and large the only one, it’s Garner.

The Little Stranger slowly mutates into a harrowing treatise on the ways in which absolute privilege can corrupt absolutely.

Support the Girls is the kind of film that sneaks up on you as it’s going along.

The romantic comedy beats are familiar enough, but the ways in which the film attacks them gives it a subversive shade that nicely compliments an otherwise straightforward fish-out-of-water story.

The first major problem with Slender Man is that it’s not anywhere near as scary as many of the fan-made mockups that can be found online right now, but the second and arguably bigger one is that it’s barely a Slender Man story.

It’s not reinventing the wheel by any stretch of the imagination, but The Meg is a perfect outing for a balmy late-summer evening at the movies. It’s a little preposterous, a little moving, and a lot entertaining.

By the time Whitney reaches the point it inevitably must, Macdonald’s film stands as an archive of how preventable Houston’s passing truly was.

Skyscraper‘s knowing sense of transparency about its own corniness turns it into exactly the right kind of summer outing, a tight 93 minutes of consistently well-executed overstimulation that takes itself seriously enough to avoid total self parody while also going out of its way to avoid insulting its audience’s intelligence.

The film may deliver the spectacle of dinosaurs body-slamming other dinosaurs with their mouths, but that’s about all that connects Fallen Kingdom to the wonder and fright of the original film. As a horror movie, it’s diverting enough when it’s not continuously shooting itself in the foot with ideas it can’t explain and doesn’t care to.

When the film isn’t simply boring, it becomes unintentionally hilarious in its occasionally inept production.

The movie is reasonably successful in its own modest way; its interests go no further than offering a handful of pratfall-driven laughs, and a few lessons about kicking back and cutting loose before you miss out on the simpler pleasures of life.

Filmworker makes a compelling argument that the Kubrick who lives in cinematic legend may not have become the man he’s remembered for being without Vitali around.

Deadpool 2 likes to situate itself as the subversive alternative to so many bloated X-Men films, with all their grave self-importance and bombastic action, but even more of this go-around resembles those movies than its predecessor, and if it reads to you as more than a bit hypocritical, just know you’re hardly alone.

It’s intelligent, frequently resonant, and even wryly funny at points in its own weary way. This is sci-fi which trusts its audience to fill in the blanks and do just a little bit of the heavy lifting, and it’s better off for it.

It’s a provocation, and for the most part, it’s an effective one. Yet for a film all about verbal and physical blows, Bodied seems to grow skittish when it comes to landing the nastiest ones, the ones that would call its own ideals into question. It’s just insightful enough to leave audiences wishing that it were more so.

It’s exhausting, but it’s also frequently effective. It’s surface-level with its emotional beats, but a number of them still land, largely thanks to the continuously all-in performances of the series’ endlessly patient stars. It’s an event that advertises itself as an event in every way, while somehow still managing to justify the immense hype around it.

It’s the worst kind of ridiculous: not enough so to be memorably fun, but far too much so to be taken with any degree of gravitas.

You Were Never Really Here is a masterpiece of form and performance, but somehow, its accomplishments in sound and aural texture manage to dwarf even those other accolades.

That the film never fully gets to the heart of its savage commentaries is probably its greatest disappointment.

While Finley’s film may be slim on any truly insightful commentary about what makes Amanda and Lily tick, that’s almost beside the point. Instead, this is a film about the fine lines separating civility from chaos, and how it only takes a tiny push to send you across when you’re close enough to it.

Mute has gobs of style to burn, but it’s virtually the textbook definition of sound and fury signifying nothing.

There’s talent in every corner of the film, and it elevates Black Panther beyond so many of its superhero contemporaries even as it exhibits some formulaic tendencies. It’s a sterling example of formula done exceedingly well, however, particularly in the ways it uses the familiarity of that formula to tell a new kind of story.

Director Wes Ball frames the film as one long siege on the central city with few exceptions, and while that lends it a certain sense of momentum, after a while the sensation of watching it turns into one of checking off boxes

Henson, ever the magnetic performer, elevates so much of Najafi’s boilerplate direction with sheer presence alone; while the film consistently suffers from the tendency to bathe nearly every scene in maudlin strings and over-exposition, the actress manages to convey multitudes about Mary’s interiority with little more than a sustained gaze.

It’s a sparse film, to be sure, but one authentic to the time in which it takes place, even if that authenticity reads in a significantly different light in our own time.

It’s the kind of film that sets up a compelling sandbox in which to play, and then smashes gracelessly through it, cackling all the while.

It’s at once subtle and outlandish, sensual and thoughtful, outrageously unconventional and yet one of its director’s most confidently assembled features.

Voyeur leaves its viewers with more questions about what happened in the Manor House and what it meant than they’ll have coming in. If that’s hardly the note of finality that many will want or expect, it’s the aspect of the film that perhaps feels the most authentic and honest.

Roman J. Israel, Esq. is sometimes a compelling movie and often a difficult one to keep with, but it’s a flawed challenge that you’ll be grateful you gave a chance all the same.

Three Billboards may be a film chiefly concerned with rage, and pain, but it’s also one of the best dark comedies of recent vintage, and one of the better dramas as well. While some of McDonagh’s narrative threads do time out in unexpected and even unresolved ways, the film’s highs are exemplary.

The film maintains a hum of stoic, nerve-trembling anxiety that carries through to its finale.

This is a story with a message, and perhaps an overlong one, but the triumphant staging of the film’s action sequences often tends to erase any lingering doubts of its purpose before long.

By now, you likely already know whether or not Jigsaw is for you. The series is nothing if not consistent, but the diminishing returns that led to its near-decade hiatus only continue here.

Geostorm finds itself in the curious position of simultaneously taking itself too seriously and not enough so. It’s a disaster movie far too ridiculous to generate any real gravitas, but it’s also just glum enough to suck any fun out of watching the beaches of Rio de Janeiro freeze over in an instant.

As many note throughout the doc, the best moments that film as a medium has to offer are found in the smallest details. And when you find something truly great, as with this scene, you can just keep looking and looking until you spiral into the same void on which the grisly sequence ends.

It’s a striking debut, and the kind of outing that will invariably leave audiences wanting to see more from Lynch behind the camera in the future. But Lucky is a showcase for Stanton above all things.

The film exudes pure humanity in every frame, in all of its messiness and splendor and tragedy, and much of that raw emotion is owed to the performances.

There’s agony in the margins of every frame, but it remains muted beneath so many layers of color and so many hands drifting across surfaces.

American Made speaks in shorthand, in its visual and narrative language alike, and it’s less the ribald ripped-from-the-headlines commentary it aspires to be than a cynically breezy take on an ugly, unduly buried chapter of American history.

It’s a dizzying, sadistic feature, and may well be Aronofsky’s most biting work since Requiem for a Dream, but it’s also concerned with some deeply painful and humane material. Where that film aimed for repulsion of a literal bent, however, Mother! is far more concerned with horrors of the allegorical variety.

Goon: Last of the Enforcers often feels far more like a stock sports film than its predecessor, and that’s what ultimately turns it into a highly underwhelming follow-up.

In adapting Death Note for a presumably American audience, Wingard loses the whole of its identity, and never finds a different one with which to replace it.

If it never fully realizes the horrors of its prescient setup, it’s nevertheless effective in fits and starts.

It’s the kind of wholly fun, satisfying late-summer fare that audiences will crave as the season winds down on its face, but like much of the director’s more recent output, it’s operating on several more thoughtful levels at the same time.

Good Time is a film of trembling anxiety, and while the score and the Safdies’ terrific direction both aid this, it’s Pattinson’s outstanding performance that pins even the most outlandish occurrences to a deep sense of emotion.

Whose Streets? humanizes Ferguson, but not for the benefit of skeptics. It’s a rallying cry for those who understand their pain and those driven by that same pain to affect real and lasting change.

Wind River is also a potent example of how form isn’t always enough when the story is as frequently unnerving for unintentional reasons as it is for the horrors it aims to present.

Kogonada matches the inquisitive eye of his two leads, finding the splendor in the everyday, the unusual in the unlikeliest places, and the need for connection that runs beneath all things.

Menashe offers an affectingly intimate glance into a world largely unknown to those outside of it, one where faith is omnipresent over every facet of daily life and the troubled society outside is no concern of the neighborhood’s residents.

As the film’s scope reduces, it builds in horrific momentum.

Malcolm D. Lee’s stab at a Bridesmaids-esque journey of debauchery is funny, sometimes uproariously so, but its greatest strength isn’t in the filthiest stuff. It’s in the rapport between four women who’ve worked hard to remain friends, even as the natural progression of time continuously pulls them further and further away from one another.

War for the Planet of the Apes is a formidable conclusion (if indeed it is) to one of the more well-considered modern series to date. This is a film of difficult, lingering questions and painful revelations.

City of Ghosts is far less about the region’s troubled history than about the now, the daily abuses that continue to grow in severity as politics are talked elsewhere.

It’s not the savage darkness of Okja that lingers most after it ends, or even the political allusions. It’s the story of Mija and Okja, trying to make sense of a frightening world where good people and animals alike die each day, and the only thing that can usually prevent this from happening is more money.

Kuso is a hallucinatory, scatological, grotesque, and occasionally hysterical work of utter mania, the kind of wild cinema that cuts through the noise of all safer, more marketable filmmaking.

The Little Hours is reasonably entertaining, but it hints just enough at something deeper that it may well leave you wanting.

While the flagrant product placement is dialed back (at least on Bay’s curve) and there’s mercifully 100% less discussion of sexual consent laws this time around, the latest outing suffers from arguably the most fatal flaw a movie about giant fighting robots can: it’s brutally and relentlessly boring from start to finish.

All Eyez on Me is the opposite of an ideal biopic.

It aims for the kind of sprawl that could contain a film with so many big ideas about death and grief and cruelty and salvation, but it’s somehow at once too modest for how bizarre it eventually gets and too excessive to meaningfully deliver on those emotions.

While the connections Knappenberger draws between private and government corruption are sometimes belabored, they’re also accurate, and a stark reminder of the increasing popularity of “bought” news.

It’s a movie made of brief chuckles and obvious but well-meaning lessons, and if it lacks the grander ambition of some of the studio’s best and most memorable work, it’s still an enjoyable watch.

It’s odd to see Elliott in a performance that involves him appearing so adrift, but the actor mines Lee’s insecurities for a naked honesty that makes his arguments and apologies alike ring with a lifetime of remorse.

Beatriz at Dinner has an ear for the microaggressions that tend to constitute so much modern racism, and these moments tend to play better than the broader attempts at cultural commentary.

There’s no linear path to being “okay,” or to overcoming grief, and Band Aid is ultimately as much about how people have to do these things on their own as it is about a couple doing it together.

It’s still a reasonably funny movie when it hits its marks. It’s just a funny movie prone to going to some ugly, barren wells for laughs throughout as well.

It’s the rare Marvel sequel that manages to expand on what came before in new and rewarding ways, while also striking its own distinct tone even as some of its narrative devices skew familiar.

The Circle aims for slow-building dread, but Ponsoldt’s direction and the script are both so uncharacteristically stiff that the film’s tone never solidifies.

Furious 7 is at turns a celebration and a farewell, a film that goes for broke in using its many seemingly forgettable bits of established canon to tie together all of the films and pay its respects.

The Lost City of Z is as much about the struggle of progress as the real-life story it’s telling, and Gray sharply observes the ways in which mankind continuously tears itself apart, usually in the name of progress.

Even as Fate has its fun and chases its highs (a few of which are pretty satisfying), it’s hard to shake the growing sensation that the bloom might be coming off the rose.

Your Name is the kind of film that’s all the more striking for how easily it could have gone awry, but Shinkai has accomplished something unique and genuinely special here.

That world is so well-realized that the film is worth seeing, but it’s a mild letdown given the number of philosophical queries that it raises, only to leave ultimately unexplored.

Power Rangers ably sates all appetites: it’s absurd enough to avoid the self-seriousness that threatens to swallow it throughout, but just straight-faced enough to stop short of the kind of referential irony that would sink it.

In one sense, here’s a sequel to a ‘90s classic that trades heavily on audiences’ appreciation for that previous film. In another, here’s a film that uses that fact in service of an insightful, affecting commentary on how there’s no choice in life but to either move forward or to not.

If Raw is hardly subtle in its depiction of burgeoning womanhood, from the social to the sexual, Ducournau delivers the film’s parable with a candor that suits it perfectly.

Perhaps the most satisfying thing about the film is what comes after, when you stop to realize how darkly comic and sickly fun the film was after you’re done reeling from all the impaling and dismemberment.

It’s a genuine drag to watch talented actors struggle through tepid material, and Table 19 offers this more readily than it does its laughs or its pathos.

It’s a simple story of children who have to figure out, at too young an age, what kind of people they’ll be. And in its pervasive sense of hope, Barras seems to suggest that they can be anybody they want. There’s always still time, as long as love remains in the world.

What’s most unfortunate about Fist Fight is the wealth of talent it amasses for little to no discernible purpose.

Chapter 2 is a hyper-violent piece of pulp action cinema through and through, but it’s also an exemplar of how to make such a film with style and intelligence.

Given the sheer volume of jokes on hand, it’s impressive how often LEGO Batman successfully lands its punchlines.

Where Imperial Dreams occasionally wavers is in its unsubtle storytelling, which often feels at odds with Vitthal’s appealing and naturalistic direction.

XX is a horror anthology more admirable for its intent and concept than for its execution.

Patti Cake$ is a rags-to-riches story that too often comes off as a carbon copy of other, similar rags-to-riches stories.

It’s a transcendent love story, and a work of overwhelming empathy.

Dayveon’s muted, largely allusive storytelling takes a backseat to tone and place throughout, and Abbasi demonstrates an assured command of both.

Brigsby Bear offers a touching and daringly unconventional reminder of how no approach to filmmaking is inherently bad with the right mind at the helm.

What’s perhaps most remarkable about Mudbound is its emotional honesty, Rees rarely sidestepping the inner lives of her characters and never diminishing their own battles to live in an unlivable time, however wrongheaded they might be.

A Ghost Story is filmmaking that challenges and exhilarates, a potent reminder of how many new places film can still be taken even after a century of people working in the medium.

Peele is a talented director of action as well as horror, and Get Out is always far from boring even in its more familiar scenes.

It’s a perfect marriage of direction, performances, and writing, the kind of comedy that people eagerly wait for. Its solutions aren’t easy, and its paths unusual, but it’s a love story that completely earns its emotional peaks, and the kind of comedy that makes you wish every single one of them were this great.

Where the narrative is sometimes slack, and the film’s larger purpose left to interpretation after a while, Landline’s great strength lies with its performances.

Though Colossal does occasionally waver, most often due to its recurring tendency to hastily discard characters before their stories feel complete, it’s also a genuinely touching film that works phenomenally well for the most part, bolstered by the lingering sense of regret that hangs over the film’s funniest and most wrenching sequences alike.

It’s less an attack on big business (though such sentiments are certainly present) than a call for a rational assessment of proven facts. If it does occasionally dabble in hero worship of its subject, it also makes the effective case that somebody has to keep showing up when nobody else can be bothered.

While he has a decent enough handle on the right tone for the proceedings, Caruso’s action sequences are slapdash to the point of incoherence.

In its unwillingness to settle on a singular approach, Live By Night undercuts the things that occasionally do work, and leaves it a film in search of a grander purpose.

It’s so spectacularly inept, at so many different points, that it’s hard to imagine anybody will be able to forget it. It’s not a good movie by any stretch of the imagination, but it’s the kind of bad movie that audiences with the taste for that kind of thing will eat up by the spoonful.

It is not a bad film because of its sincerity of intention. It’s a bad film because it manages to make that sincerity feel disingenuous as it goes on, more and more so with each passing scene.

It feels like a missed opportunity overall, a movie that’s just funny enough often enough to make you wish that more of it fit together.

Even allowing for its recognizable traits, Moana is as much a treat to watch as any recent Disney outing.

The Edge of Seventeen has more than enough earnestness of heart to make up for its structural shortcomings. It’s a teen film with an uncommonly honest ear for interactions.

While there are no chapter breaks or anything to formally guide the audience in that way, Into the Inferno feels unusually episodic by Herzog’s typically cohesive standards.

Ejiofor is truly incredible from start to finish. McQueen’s approach to Solomon’s struggle is seamless, eschewing onscreen titles or obvious discussions of lapsed time or virtually anything that could briefly detach a viewer from their immersion into Solomon’s real-life nightmare.

The Handmaiden is film at its most exhilarating by a director at the height of his powers, and it’s the kind of singular rarity that must be savored when it comes around.

If the film often takes an aggressive approach to driving this central thesis home, Shin Godzilla manages to negotiate a difficult balance between delivering the monster movie thrills promised by its central creature and a film that utilizes those thrills in service of something more substantial.

If Julieta weren’t such a crushing bore, it might have been a lusty little delight.

In Andrea Arnold’s sublime film American Honey, freedom is relative, but every once in a while it can feel so damn good that the whole world disappears around it.

Snowden is a film of sincere outrage, even when it strains to articulate that outrage in a less from-the-headlines manner.

Eight Days a Week will be of most value to die-hard and casual fans of the band alike, but it’s also a reasonably effective primer on them for anyone who might not yet be initiated.

The more affecting moments in Sully come when the film puts aside its posturing and really examines what it is to be heroic in a cynical age.

The Light Between Oceans is an effective melodrama, but the lingering sensation the film leaves after its end is that it might have been much more.

Mechanic: Resurrection plays in an uncommonly generic key, and the film only makes intermittent attempts to enliven the proceedings.

A simple story told well can still be effective if the emotional resonance underneath it comes through. In Kubo, it absolutely does, thanks to the uniformly excellent voice performances.

The Hollars deals in weighty personal tragedies, and yet neither the treacly, offbeat humor nor the moments of more straightforward pathos tend to work for any real length of time.

For all of the film’s nonstop, aggressive insistence on its subversive qualities, it’s about as radical and unconventional as a teenager buying a Leftover Crack shirt with their mom’s credit card from Amazon.

Hillary’s America is repugnant, and while it exists to get people who stand against it yelled at as much as anything, it’s essential that D’Souza not simply be written off as a hack pandering to a willing and lucrative audience regardless of the moral implications, though he is. D’Souza peddles the kind of “media” that’s become cancerous to the country he unyieldingly purports to worship.

It’s a warmly empathetic documentary, the kind that simply observes instead of attempting to sound one kind of rallying cry or another.

Captain Fantastic loses its intriguing premise in a muddle of ideas about the redemptive power of family and the right of all people to live as they please.

For a film designed to spawn ancilliary products and sequels, Pets is not entirely without its charms

A curiously loud and ugly beast of a sequel.

The film’s belief in and commitment to the simplicity of its premise takes it a lot farther than it might otherwise go.

Raiders!, as a documentary, is much like Zala and Strompolos’ film in that it’s rough around the edges at points, but so utterly sincere that it’s hard to deny after a while.

It’s a classic case of sequel bloat, a film that seems to exist less because of any extended story it wants or needs to tell than because it must repackage something that was once popular.

Last Days in the Desert explores Jesus in his most mortal phase, and McGregor’s exhausted performance is essential to its success.

It’s a feel-good story enlivened by the fact that there’s no overly sentimentalized hokum to be found.

By firmly rooting all of the film’s sprawling drama in a singular conflict, directors Joe and Anthony Russo manage to do what many superhero films have struggled with in recent years: find a truly effective reason to pit superpower against superpower.

It’s a marvel of filmmaking created from nothing (and one of the more meaningful uses of 3D in recent memory as well), and Favreau stages one scenic tableau after the next with uncommon skill.

The Invitation is supremely well-crafted.

There is a tone of anger that sneaks out of the film in even its moments of levity.

It’s a film with no easy answers, and rightly, Hood doesn’t strain to offer them. If the film’s attempts at barbed satire don’t land as well as its graver moments, it’s nevertheless an effective look at the new kind of war.

The Bronze is so satisfied with its own winking crassness that it lets epithets constitute everything it has to say. Between that and the film’s scene-by-scene tonal shifts, what could’ve been an off-kilter curiosity curdles into a dull roar of disappointment.

Creative Control ably captures the entitled narcissism of modern Brooklyn twentysomethings by way of a plausible near-future,

There’s a note of reflexive, self-aware irony to it, but portions of Knight of Cups feels as though they’re indulging in precisely this same kind of early-college navel-gazing.

To have seen a disaster movie before is to have seen The Wave. But if there’s not necessarily anything remarkable or new about the film, Uthaug finds ways to make the familiar immediate, with a fraction of the money usually involved.

There’s a depth to the city that shows how far the form has come in a short time, and Zootopia is better off for it, especially when it still ultimately doesn’t break away from the familiar Disney formula as much as some of the studio’s other recent films have managed.

How To Be Single doesn’t break much at all in the way of new ground, but it’s a decent walk over well-trodden territory.

It’s hard to imagine a movie much more aware of itself both as a movie and as a moment in a cultural progression of similar movies than Deadpool.

While Yoga Hosers continues Smith’s quest to push himself into increasingly strange and uncomfortable directions as a filmmaker, it’s either too derivative or too malformed to work the vast majority of the time.

At points the film simply observes the smaller, more innocuous moments of a coming-of-age story; much of it is framed in intimate medium shots and close-ups, and there’s a distinct kinship between the numerous wayward souls in its world that carries it along.

The Lure somehow manages to seamlessly assemble a film equal parts hilarious, affecting, and grisly while trading and warping aesthetics and tones by the scene.

As both an utterly mad true story and as a document of the boundless reach of the cinema across borders and cultures and even ideologies, The Lovers and the Despot is wild, valuable viewing for all.

If Lo and Behold is more just a collection of interviews on a series of themes than a cohesive piece of storytelling, it’s still a fascinating endeavor into how the Internet went from personal to unimaginably broad and how it could either continue to expand or perhaps even return to that infant phase again.

Much of Kate Plays Christine is more of a form exercise than it is a documentary portrait, which works to both the film’s benefit and detriment.

It’s true that few movies are this aw-shucks nice these days, and for a short while The Fundamentals of Caring finds ways of retaining that kindness without lapsing into platitudes.

Indignation resonates at times with the tension of things said and unsaid, regretted and forgotten.

There are moments of true terror to be found among the silence and the encroaching existential dread in which the film deals most prominently.

In fits and starts, the film matches the fire of its lead performance. Miles Ahead is far from a traditional, boilerplate music biopic, for better and worse alike.

At times, László Nemes’ film induces the sensation of drowning, slowly. Not the kind where you’re pulled under by the riptide, but the kind where you’ve been treading water for so long that the body starts to betray you in tiny increments, and any life preserver must be met with utter desperation.

Don Verdean is the sort of comedy which presumes its own hilarity long before it gets around to telling any actual jokes, or staging anything that might otherwise be considered funny.

Unlike in some of the filmmaker’s past work, however, Youth foregrounds the performance over the spectacle; Keitel turns in some of his finest work in years as the aging, fiery Mick, and Caine delivers a performance composed of untold multitudes.

For a film where not much ultimately happens, per se, Cronies is a thoughtful reflection on nostalgia and how the sins of the past affect the present.

The terrors put forth by the film are at once specific to the era of its production and timeless in their direct connection to the American experience.

There’s a lot of depth to Rushmore, but lingering in those depths for too long does a disservice to how consistently funny it also is.

Like so much of Linklater’s best work, the film is profound through its being deliberately unassuming. It’s sincere without being dopey, honest without being mean, optimistic without being oblivious of how hard the future can be.