Graeme Guttmann

Part revisionist history, part unconventional character study, Corsage is carried by Vicky Krieps' brilliant performance and its willingness to buck genre conventions in favor of a dark and dreamy fairy tale.

The action isn't elegant. It's erratic and loud and ugly. . . it's a symphony of chaos. It's also a damn good time, even if Kurosawa leaves us with the haunting notion that we're all too connected, just one click away from finding opportunity or something much more dangerous.

Amrum doesn't fully confront all the questions it poses, instead serving as a meditation on the ways a child might respond to a world he doesn't fully understand.

It's a riveting film, but one that left me feeling hollow and ultimately frustrated with the continued way in which much of American cinema tackles crises like the one at the center of September 5.

From its close-up shots to its wide framing of characters against the barren Texas desert, there is a sense of immediacy that makes the film's thriller elements all the more enrapturing.

The narrative of Monica is scant, but this makes way for a poignant examination of trans identity and loneliness through the lens of one family.

Rebuilding chooses a gentle, deliberate approach to its story, making it all the more powerful in its observations on what it means to find a home and community in places and ways you'd least expect.

Bottoms nearly has it all and even where it falls short, it is still far bolder than much of anything released by major studios in the last few years.

It’s less challenging and possibly less rewarding but it’s no less fun.

Inside Out 2 leans more towards greatness than redundancy & though it falls short of being one of Pixar's best, it's a worthy addition to the library.

In its own way, Griffin's experience is universal, but Griffin in Summer finds specificity in its amusingly abrasive central character.

With its brisk runtime, the film wastes no time and, though it plays into genre tropes often, its premise is enough to make this film a compelling watch. The film ends up being surprisingly emotional thanks to its protagonist, though its lack of characterization of its human counterparts hurts the film's climax just a bit.

The adaptation isn't perfect (what stage-to-screen adaptation is?), but Matilda the Musical comes with a game cast, expertly staged musical numbers, and just a touch of magic that all the best musicals have.

Yet, despite this apathy, there is an emotional core to Friendship, one that made me root for Craig despite all of his shortcomings and unpleasantness.

Visceral, bruising, and darkly humorous, Die, My Love hits like a sledgehammer thanks to Lawrence and director Lynne Ramsay's uncompromisingly grim vision of domestic life.

The cast's chemistry really sells what transpires here and without that, it's hard to see the film working. Luckily, Brooklyn 45's disparate pieces come together to make for a wholly unique film that feels rare to come across these days.

There may be few miracles in The Wonder, but it's clear that Pugh is one unto herself.

Enzo is subtle in its examination of queer desire, understanding that quick glances and soft touch can be just as sensual — and even more effective — as anything intense.

DaCosta makes some key changes to the ending of this story that slightly undermine its more subversive inclinations, but that doesn't make the film any less effective. Her confident direction and Sean Bobbitt's lush cinematography make Hedda an electrifying adaptation that relishes the chaos as much as its characters, even as blood, bullets, and booze continue to fly.

It's not a perfect film, but Emilia Pérez is endlessly captivating, an exercise in genre, tone, and sheer fearlessness.

For all The Phoenician Scheme's eccentric thrills, sardonic performances, and globe-trotting adventure, the film still feels limited in the grand scheme of things.

Handling the Under is not an effective horror movie, but its zombie-drama formula allows for a portrait of pain that settles in and stays like an infection.

An unnerving rural gothic tale with two quietly fierce performances that make the film's slow burn to its climax worth the wait.

While it doesn't quite reach the horrific highs of the 2013 remake, it rips through other splatter-fests with the finesse of a freshly whetted chainsaw blade.

Writer and director Chris Nash's In A Violent Nature may be the first slasher in a long time to truly deconstruct the genre in a way that feels surprising, even if the results of its experiment are mixed.

Tuner is a small film, but one that will leave a big impact. It truly is one of the most delightful surprises of the fall and deserves to be seen on a big screen with the loudest sound possible. Here's hoping it gets that chance.

While it ultimately reveals everything too late, the film still feels fresh and, unlike plenty of what is released today (on podcasts and in theaters), actually does have something to say.

Leave the World Behind may pull some of its punches in favor of an easy out, but it's still a thought-provoking, dread-inducing tale about the end of a world that has become all too familiar.