Gregory Ellwood

A slightly bumpy two hours of storytelling, but it's peppered with wonder and unexpected humor.

Sarnoski is working on an auteur wavelength. He often lets the momentum stagnate just enough so the viewer can truly take in the staggering annihilation of a city now in ruins, full of death, and inherent quiet beauty. None of this would come close to fruition, however, without Nyong’o and Quinn’s stirring performances.

When Arco comes to its inevitable “E.T.” Inspired conclusion, the wondrous score by Arnaud Toulon may have you this close to shedding a tear. And you’ll wonder if this future is truly only an animated dream.

Cedar’s smart dialogue and direction lift Norman: The Moderate Rise and Tragic Fall of a New York Fixer (hereby just referred to as ‘Norman’) above expectations.

Yes, Jackman’s impressive portrayal of Hart is at the center of “The Front Runner” (it’s one of the best performances of his career), but Reitman uses a large cast of characters to give depth to the events in question.

Institutional corruption has been a centerpiece in Romanian film, especially over the past two decades. It’s no surprise then that Emanuel Parvu‘s Three Kilometers to the End of the World is driven by that narrative even when it’s not the most compelling part of the story.

If you’re wondering whether you’ll believe Streep is a convincing rock musician, please. It’s Meryl Streep here. She sounds like she’s ready to open for Bruce Springsteen.

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

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.

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.

We’d be reminiscent to not admit this is the sort of movie that’s hard to shake. We haven’t been able to stop thinking about it since. Considering how rare that is, maybe that’s just as gracious a compliment as admitting to bawling while the credits roll.

Dense isn’t always used as a compliment when describing a movie, but in the case of Women Talking it’s a badge of honor. Polley is tackling numerous social dynamics among the women as well as a number of contemporary themes including women’s roles in society, religious freedom, sexual liberation, and even gender identity.

Despite Herzog’s efforts to keep it as entertaining as possible, “Inferno” does feel like it overstays its welcome a bit. That being said the access and footage they’ve compiled coalesces into a truly cinematic experience. One that would be hard for anyone else to even fathom attempting to duplicate.

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.

Lanthimos presents a fully formed original vision that hits a perfect tone even when the narrative begins to get away from him a bit.

While the cinematic moments and winks at French pop culture history will be nostalgic for many, it’s the bond between Deneuve and this new Marcello that resonates the most.

When Kusuma, Kidman and Destroyer finally kick it into high gear it’s so, so worth the wait.

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.

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.

Israel, as noted by her own writing, had a caustic wit that works with McCarthy’s comedic talents. She also brings a depth of emotion to Israel that comes to a head in a wonderfully composed scene with Grant at the end of the film.

The fact Pusić is able to pull off such complicated visual effects with her actors in scene after scene while keeping her chosen tone is extraordinary for a young director (not to mention the confines of a relatively independent film budget). This sort of world building would absolutely falter in the wrong hands.

The film’s title isn’t just referring to the past, but what everyone involved witnesses in their communities everyday. By letting this fester and not confronting it dead on are we not saying we’re fine with being “barbarians’? It’s a credible question the filmmaker leaves you to ponder in private.

Somehow the filmmakers found lightheartedness and – gasp – laughs in a story of political intrigue at the top of the notoriously buttoned-up Catholic Church.

That bond between Hiccup and Toothless, mostly thanks to Thames’ impressive commitment, with that Powell score thrown in for good measure? Heavens, it’s simply glorious. And just like the original, you’ll want to experience it all over again.

Yes, you’ll likely leave the theater blown away by Casal and Diggs’ considerable talent, but its Estrada’s vision that will haunt you.

Parthenope’s fictional life story may actually not be as intriguing as Sorrentino thinks it is. A movie that begins with blistering sex appeal really starts to lose momentum in its third act.

The chemistry between Patel and Hardy is often divine, and the latter delivers such a layered and charismatic performance you’re with it till the end.

Dunn demonstrates an impressive ability to bring his unique interpretation of the coming out process to life.