Gregory Ellwood

Taylor-Joy also has to convey a tremendous amount of character arc in what is often a non-verbal performance (Miller recently revealed she only has 30 lines in the movie). No surprise, she absolutely kills it. But, miraculously, for a movie that doesn’t seem to leave the door open for further adventures, she’ll teasingly leave you wanting more.

Despite the melodramatic ending, you leave the theater wanting to root for the film and its characters.

Simply put, this is an expertly directed first feature. Clapin’s willingness to be patient as a scene unfolds, to let the hand experience the surreal images from its perspective, to let the quiet captivate the audience is beyond impressive.

Despite Davis’ lyrical direction, the obvious gaps in the screenplay provide too many holes for what strives to be a definitive portrait of an exceptional talent.

In the end, it’s a stellar turn from Sharp that dots the I’s and crosses the t’s when the tear ducts begin to flow. And you realize how marvelously constructed the whole endeavor is.

Ford v Ferrari is the sort of cinematic entertainment that sucks you in and won’t let you go until you cross the finish line.

When Shults soars under this structure, he composes some brilliant moments. When he falters, it seems like the movie doesn’t know where to go or when to end (if it even wants to).

Rian Johnson has seamlessly crafted another murder mystery with even more delicious twists and turns than the previous two installments. Maybe even combined. Somewhat hard to believe until you witness it for yourself. And, along with a slightly (and emphasis on “slightly”) more serious tone, the result is often smashing.

Despite Ben Hania sticking to her cinematic formula “Four Daughters” is genuinely hard to forget. It will linger with you for days afterward. That’s mostly due to Olfa’s heartbreaking perseverance to find her children and a wee bit of Ben Hania’s storytelling skill too.

Blank knows exactly what narrative territory she’s in and uses the dramatic conflicts at bay to make a number of decidedly funny and oh, so painful points.

The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction.

It is almost impossible, however, to watch Other Side Of The Wind without taking its history into account. That makes the final product uniquely captivating.

What Early, who also wrote the screenplay, has his sights on is the hilarious tropes of the movie-of-the-week genre. And he almost completely pulls it off.

Jia probably made a mistake directing the 1999 sequence in such an over-the-top and stilted tone (it also feels more like 1989 than the turn of the century), but the rest of the film is incredibly well done.

McKellen has been given a wonderful late-career gift in Steven Soderbergh’s The Christophers, a role that allows him to deliver one of his best performances in years.

Somehow, Gillespie manages not only to make it feel fresh but its own distinct chapter in this never-ending story.

Fukunaga not only directed the film but also co-wrote the screenplay and served as director of photography. His efforts have resulted in a brazenly confident piece of cinematic art where every image immerses you deeper and deeper into Agu’s horror.

The subjects of Kokomo City are quote machines, but their strength is that they make you listen to what they are actually saying and digest their opinions. Oh, no, they are not just here to entertain you. Points will be made.

What elevates Hustlers from an entertaining con job flick to something noteworthy is that the racket isn’t inherent to the story Scafaria wants to tell. Many filmmakers will say their film tackles female empowerment, but few do the legwork to make an integral and authentic part of the story.

At its heart, Twinless is a movie about loneliness. About finding someone to fill that emptiness, soothing life’s inherent anxiety. Whether a lover or a friend, they are often hard to find.

Like any good page-turner, Conclave is full of twists. Some you’ll see coming, and others will genuinely shock you. But this is smart, fiery melodrama.

It’s hard to recall a movie that leaves you with this feeling of genuine hope.

Lurker is the sort of film that lingers with you for days.

The third act often feels more like a cinematic exercise than a filmmaker who has something to say.

Assayas has often shown great wit in his screenplays (most recently in “Clouds of Sils Maria”), but there is a rhythm to his writing here that is surprisingly good.

Bornstein has fashioned a cinematic anxiety-fueled experience whether you can relate to having children or not.

Too many of the jokes fall flat and as the film moves forward you’re so captivated by the bizarre plot twists that recognizing the humor becomes secondary.

A bold dissection on aging and self-hatred Fargeat’s latest work is an utter visual marvel and features superb performances from its lead actresses; Demi Moore and Margaret Qualley.