Glenn Heath Jr.

What's most interesting about the intense deliberations that ensue, specifically when a piece of seemingly indisputable evidence is brought back into question, is how a fresh angle and perspective, usually born from Juror 8's critical thinking, can permanently alter the tone of the discussion.

Unquestionably one of this year’s great films, The Inheritance seeks to position them both on equal planes of historical and individual experience, one invariably informing the other.

This insane masterpiece shows the self-destructive properties of myth making and how they overlap with the downfall of a community damned from the beginning of time.

A true marvel of a movie, it’s equally enthralled by wind in the trees and a momentary pause in a conversation, patiently waiting for us to discover its calming power.

Gillo Pontecorvo’s The Battle of Algiers is a political tract that understands itself also as a cinematic exercise.

When split in half, the title of Pushpendra Singh’s riveting character study represents competing forces of assimilation and freedom, patriarchy and artistic expression.

At the center of it all is Hanks, our moral compass, our trembling hand, who has amazingly never headlined a Western in his four-decade career. Only his bearded, weary face could have brought such empathy and grace to a brutal portrait of rotting Manifest Destiny forever stuck in the mud.

For those curious and willing, this is a beautiful reminder of what it’s like to be properly throttled by an unexpected cinematic jolt.

Clunky and cranky in the most charming of ways, the film always moves in sync with its 91-year-old star, lingering on moments of solitude for long periods while brushing past more traditional plot points with ease.

Through its meticulous recreation of historical circumstance both personal and collective, Dear Comrades! beautifully counters these natural feelings of indifference through a blisteringly precise style of dramatic filmmaking that never shies away from revealing the fascism propping up all the propagandistic bluster.

This mammoth final effort by Ôbayashi, an artist who so often destroyed the conventional boundaries of cinematic space in works like 1977’s Hausu, is a completely humbling viewing experience.

Chess of the Wind is a shining example of how familiar genres and tones can meld together to form something that feels brand new.

Traditions don’t disappear overnight. They slip away slowly over decades, as elders die off and younger generations experience shifts in priority, social norms, and cultural pride. Few films have been able to capture this kind of ebb and flow like Achal Mishra’s Gamak Ghar, a quietly beautiful drama primarily set in the rural compound where one Indian clan gathers for major life events.

The Works and Days is by no means an easy thing to endure, but doing so brings you closer to understanding what it might mean to finally be at peace.

The film remains a stunning collective of method acting and 1970s social critique.

Sweetie’s brilliance stems from how Campion inventively explores the relationship between inanimate objects and personal memory, Sally Bongers’s static camera lingering on the precipice of a family unit brimming with secrets and lies.

Visually glassy and smooth, Perfect Sense values the dynamic mood of each scene without being overly stylized.

High and Low is a masterful cinematic elevator connecting two warring social perspectives, finding a common ground between them in the pressurized corners of the classic crime drama.

As a collage of glossy gangster conventions and one-liners, The Long Good Friday explodes with energy, but it’s the political and social tensions that make Mackenzie’s film a lasting vision of British tragedy.

One of the great devils of 1950s American cinema.

The endless scenes of burning buildings and macho posturing merely provide an action-driven context for the filmmakers to deal with more personal topics like loneliness and resiliency.

If Rebirth's subjects are active guides documenting a fluid psychological landscape, Jim Whitaker constructs a specific cinematic geography around them with stunning time-lapse photography of Ground Zero.

Taking the title into consideration, Test Pattern remains clearly focused on the circumstances outside of our control that force adjustments in perspective.

While many will call małni an “experimental” documentary, that seems like a limiting description. This is a thriving non-fiction film that’s trying to reconnect with what it means to be present, to watch and listen, to step outside yourself and explore.

Not only does its incredibly loose aesthetic challenge the traditionally controlled and slick conventions of the cop genre, it adds a certain visceral haziness that compliments Brown's own professional and personal immorality.

Set in a remote Sudanese village where religion and prophecy are valuable currencies, You Will Die at Twenty beautifully examines misguided notions of faith.

Gomes contemplates the many human dimensions wavering under the surface of this town, whether it’s the mythologies crowding a town’s gossip session or the tall tales flooding rants at a local bar. This is a collective voice of character rather than a dry document of reality.

A heartfelt retro flashback littered with pop-culture iconography and much slang, it focuses on the importance of friendship and loyalty rather than social standing.

If the trajectory of R foreshadows tragedy early and often (what prison film doesn't?), the filmmakers manage to infuse quiet moments of reflection and panic into each man's traumatic experience.

Shit Year is a thematic twin to Billy Wilder's "Sunset Boulevard," both heightened fables about the slow disintegration of a retired actress mourning her now-dead career by retreating inward.

If the film covers well-tread territory (a morally bankrupt player trying to prolong his own influence), it does so with pinpoint control of mood and theme.

Hard Times feels most like a brilliant prerequisite to the cinema of Michael Mann, a focused neo-western where the last man standing is the one truest to himself.

Part dream, part nightmare, the film vividly remembers a traumatic moment in time that cannot be forgotten.

The film is ripe with powerful subtext, specifically how greed, celebrity, and technology help to form a misguided sense of opportunity that keeps the working class downtrodden.

Amy Seimetz's intoxicating slice of genre revisionism earns its "neo" prefix, envisioning a brightly sinister world where desperation is the new normal.

The seamless juxtaposition of faith and pain, innocence and guilt, allows the film to transcend Spike Lee's occasional bombastic moments and become a strong examination of internal suffering.

Walter Hill thoughtfully regards the pummeling power of weaponry at work.

One can’t mistake I Spit in Your Grave for anything other than a raging political text, a rigorous reminder to the power of a disturbed imagination, be it victimizer or victim.

Both as a character study and modern-day parable, Toll Booth sneaks up on you with its subtle use of repeating motifs and audible cues.

Documentarian and subject, past and present blur together like bleeding watercolors in Raymond De Felitta's gripping memoir.

A visceral symphony of screeching tires and crushing metal.

Throughout, it becomes clear that both the film and its subject are defined by the necessity of multitasking.

When Papushado’s film finds the right tonal balance, meshing noir bleakness with pops of art deco color, there are fireworks to behold.

Often charming in the most confrontational way possible, Straight Up pays due respect to the endlessly creative ways people delude themselves into avoiding difficult realities. It may talk (and talk) a good game, but it’s in the quieter moments of silence when it speaks volumes about the perils of modern alienation.

What the film does have is Andra Day, whose blisteringly raw central performance as the heroin-addicted musician brings a dynamic charge to nearly every scene.

The film would almost certainly benefit from more brawling and less speechifying since Jordan in particular is very good at the former. The actor’s bottled up intensity, convincingly unleashed in Black Panther and Creed, is this film’s greatest asset.

The most interesting dimension of Altered States has to be the way Russell sexualizes Eddie’s relationship with godly figures, most notably symbols of Jesus, crucifixion, and his father.

While not nearly as emotionally impacting as some of Disney’s other classics, Bambi might be the most restrained and lyrical of the bunch, a poem to the simplicity and purity of natural life.

Watching Dennis Farina dominate every scene is a joy, and thankfully the actor makes the most of this opportunity.

For a film that often veers into potentially absurd territory, You Hurt My Feelings shows a great deal of sensitivity toward its sad-sack characters.

Using a whirlwind of archival footage, maps, and split screens, Edmon Roch conveys Juan Pujol Garcia's reign as Europe's premiere spy in a constantly fluid fashion, aesthetically mimicking his crafty and cagey nature.

When considering the best voiceover artists in cinema history, Ryan Reynolds doesn't immediately come to mind as an especially dynamic one.

People matter in Matthew Lillard's film; genre not so much.

A strange and intoxicating indie constructed as a series of vignettes that capture two children grappling with the overlap of trauma and nostalgia.

It'd be unwise to dismiss Safe House as merely a clone of Tony Scott's manically inclined vision.

Director Leon Ford displays a wonderful empathy in his examination of Griff and Melody's lonely environments, allowing their fringe perspectives to flower organically from the mise-en-scène.

This arc may sound particularly familiar on paper, but To Be Heard finds the unique passions and heartaches in all three stories, allowing the viewer to become invested in whatever outcome befalls each subject.

What sets Undefeated apart from the usual underdog sports story is how the filmmakers emphasize the importance of mentorship as something separate from on-the-field interactions between coach and player.

Despite being a nasty and skillful action film, The Day goes off the rails in the final stretch.

All in all, Cowperthwaite (who directed the documentary Blackfish and made her narrative debut with Megan Leavey) has a difficult time giving the film any sense of style. Montages pop up exactly where one would expect, and nasty arguments are given the classic hand-held touch.

Coming 2 America takes too long a road to get to a simplistic lesson: be kind to the person who threatens you the most and everything will work out. Only in Hollywoodland (and their version of Zamunda) does this feel remotely possible.

Daylight reaches an apex of terror that it never quite tops.

The film's interest in social themes remains background fodder within a far more generic good-versus-evil narrative.

Never distinguishes itself as engaging cinema apart from the main character's vile charisma and a few dynamic dialogue sequences.

The film's first act is wholly concerned with the juxtaposition of physical similarities and ideological opposites, and Tamahori spends entire sequences upending the balance between the two.

If Barkin and Grondin create a swamp's worth of deceptive intricacies in their moments together, the rest of the cast is regulated to expository mop-up duty.

Maybe the most surprising thing about Godzilla vs. Kong is Wingard’s uninspired directorial choices.

Nina Rosenblum's love letter never attains that essence of ambiguity that makes the best nonfiction films live on after the credits fade.

While Reversion sets up a complex communication platform for a universe being slowly ripped apart, it doesn't know how to relate this idea in human terms.

Unfortunately, like so many women have prophesized regarding the weaker gender's lack of commitment, there's just not enough follow through.

The bloat and heft of Marley's narrative scope leaves the viewer awash in a sea of historical "facts" with very little sense of the human experience behind the curtain of celebrity.

The film ultimately fails to treat history as anything but a string of melodramatic reference points for moody characters haplessly trying to find love.

Animation, motion graphics, and slow motion all pop up at some point, further splintering Sidewalls into a pandering pastiche of better films.

Exquisite looking but substantially hollow.

The film gives seasoned actors like Foster and Cumberbatch just enough room to flex some scene-chomping muscle, while relegating poor Shailene Woodley to the background in nearly every scene as Hollander’s dopey inexperienced associate. Rahim, on the other hand, knows this is his film even when Macdonald doesn’t. As with his star-making turn in A Prophet, there’s something burning inside that always threatens to boil over.

Can’t decide if it wants to be a countryside farce, magical realist parable, or eccentric romantic comedy. So it tries to be all three at once.

Do we really need another cautionary tale about an ambitious drug dealer dramatically falling from grace?

End of Watch is pure frat-boy fantasy, the video game to Southland's great American novel.

The film grows increasingly tiresome the more it flirts with melodrama, unraveling themes of jealousy, regret, and ambition in broad strokes.

There's absolutely no fresh perspective here; just more juiceless samplings of what's already been cooked to death.

The women of the film certainly deserve better, as they're often relegated to the role of victim, harmed or murdered simply to propel the plot along.

Ruben Fleischer's film is a perfect example of Hollywood hypocrisy, something to be ignored diligently.

There's nothing inherently flawed about this nomadic and potentially life-affirming narrative, but Rosenbaum manages to instill every moment on the road with a sense of shrill conventionality.

Isaac Florentine's film is maligned with gaping plot holes, terrible expository dialogue, and obvious moments of foreshadowing.

Angels Crest opens with the laughter of children at play, but that's the only hint of happiness you'll find in this unflinchingly manipulative and pointless morality play.