Graeme Guttmann

Despite finding a sweet spot, The Shallow Tale of a Writer Who Decided to Write About a Serial Killer falters as a whole. Buscemi, Magaro, and Lower give great performances, but it does little to fill in the gaps of the story.

Baker's familiarity with the area gives Janet Planet a distinct sense of place and Baker an assured way with the camera, but there's also a universality to it and to the film's central pair that helps it transcend to something even more affecting.

There are great moments in the quiet of Treasure, the scenes where director Julia von Heinz's camera lingers on a look, an item, or a landscape. But Treasure finds itself stuck in the middle of these tender moments and a heavy-handed way with emotion that has good intentions but doesn't land the same.

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.

It eludes classification, refusing to commit to being one thing and instead asking us to question our relationship with the world around us.

Kingdom of the Planet of the Apes is a rousing action-adventure in the ruins of the human world – traces of the past remain but this is Noa's story.

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.

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.

Bonello posits that, even in fear, feeling is more important than forgetting, and every little death is a door to another future.

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

Perfect Days is engrossing in its monotony and fascinating when something disrupts it, a portrait of a simple but beautiful existence that serves as a life-affirming reminder to value the little moments as much as we do the monumental ones.

As Between the Temples reveals more layers to him, Schwartzman deftly uncovers something much deeper. There's grief there, but there's also a profound ability to love without shame and that is perhaps the most revelatory thing of all.

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.

Little Death is two vignettes — one more compelling than the other – that only loosely come together.

It's unclear if Stress Positions has arrived "too soon" but its proximity to the pandemic doesn't make it any less hysterical, even if it's hollow in other areas.

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.

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.

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.

It's a bold swing from the director and, despite it being tonally uneven and a bit messy, Napoleon can be still quite fun.

Thanksgiving is special in the way all good slashers are — it's funny and gruesome, with a trashy B-movie energy and a solid whodunit at the center of it all.

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.

The film presents a bold vision of what movies can and should be and, ultimately, it's a more exhilarating experience to watch a movie of this scale take risks and fall short than it is to see a blockbuster play it safe and deliver mediocre results.

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.

While Red, White & Royal Blue is a little too light on laughs, its central romance follows the book closely enough that die-hard fans will be pleased and casual viewers will be able to find something to love.

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.

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.

Unfortunately, Run Rabbit Run is less than the sum of its parts, and even an excellent turn from Sarah Snook can't elevate the movie beyond its basest instincts.

No Hard Feelings is a dual coming-of-age story hidden inside a raunchy comedy that, despite its faults, is both sweet and hysterical, with a chaotic performance from Lawrence that shows the actress can do just about anything.