Graeme Guttmann

The Zone of Interest is one of the most unsettling movies of the 21st century, stunningly relevant, invasive by design, lodging itself in your head as an unforgettable cinematic experience.

The transition of tones is subtle - you don't realize you're watching a horror movie until it's too late.

Oppenheimer is a devastating portrait of man's hubris in the face of change, with some of the most startling & horrifying images of Nolan's career.

A fever dream in the bleakest sense, Sirat is a wild and apocalyptic epic, mythological in scale but intimate in its story about family.

Lanthimos has often bewildered audiences with his sensibilities, but Bella Baxter proves to be the perfect muse for the director's inherent curiosity, a lens through which to look at the world that reveals harsh truths and startling beauty.

Dune: Part Two is an awe-inspiring, visually stunning sci-fi spectacle and a devastating collision of myth and destiny on a galactic scale.

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.

Conclave is not trying to be some treatise on the state of the Catholic Church, nor is it saying anything new about modern religion. It's engrossing nonetheless, and it milks the titular event for every dramatic drop its worth.

Mission: Impossible - Dead Reckoning Part 1 isn't a perfect movie — there's one big fumble that's sure to be divisive — but it's damn near close.

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

Broe is able to go beyond a clichéd queer cityscape to capture something that feels achingly real, all the more so in the evolution of Johan and William's relationship. There's a sadness here, but it's blunted by the fact that it plays out in a way that feels very true to life.

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.

Priscilla is another masterwork from Coppola, a study of a woman in a gilded cage and her journey to freedom with two central performances that will go down as some of the best in Coppola's entire filmography.

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

Gladiator II really soars when it does the unexpected and, for the most part, that only happens when Washington, Quinn, and Hechinger are onscreen. It doesn't make for a well-rounded film, but it does make for an entertaining one. For all its faults (of which there are only a few), Scott is still fully in control of this massive undertaking, letting his contemporary sensibilities bleed into the gravity of the past.

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.

The Things You Kill may seem like a simple revenge drama, but it allows itself to be so much more through form and story.

It’s a stunning achievement from the director, one that has sat with me since I saw it, growing in its effectiveness.

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.

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.

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.

It doesn't reinvent the wheel, and it shouldn't have to. What it does prove is that queer stories, more often than not, add new layers to narratives that have been done before.

It's dramatic storytelling with blockbuster-levels of energy, a triumph for Guadagnino, and a new all-time great sports movie where the games off the court are just as hot as they are on it.

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.

Twinless is designed to make you squirm, but it's through this discomfort that Sweeney finds humor and heart.

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 Last Showgirl isn't perfect - it's melodramatic by design, and it wears its heart on its sleeve. But Anderson's raw and unfiltered performance, one clearly tailor-made for her, makes up for the film's weaker elements, as does the chemistry between the cast.

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