Gregory Ellwood

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.

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.

It often seems as though Hikari is being pulled toward a prespective that is simply not Japanese enough to provide a true cultural perspective. But, more importantly, Hikari knows how to push enough emotional buttons without the audience sensing they are being manipulated. And, for many, those talents mean Rental Family will lead to genuine tears.

Mielants and Porter end the film in a manner that is almost offensive to the audience. This isn’t about providing a spotlight for kids with behavioral issues or the professionals who commit their lives to them; it’s melodrama for melodrama’s sake, with an awkward attempt at a “happy ending” that is borderline cringe.

The movie feels like a cinematic palate cleanser the closer it comes to its inevitable ending.

Despite a “you can see it coming” final baccarat game in the third act, designed to crowd-please, it all somehow feels flat and generic. And, worse, decidedly not fresh.

There is a moment in the final act between Graham and White that will be hard to forget. A moment that is masterfully directed and performed with the utmost humanity. So much so that you almost wish the movie ended right then and there.

Zhao has fashioned a masterwork that, once again, straddles the line between narrative and cinematic art in a manner few of her contemporaries can match.

O’Brien has never had the opportunity to play such a sketchy, dirty character before and utterly kills it. This is the sort of performance that make casting directors take notice.

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.

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.

Dipping his toe into the not-so different motifs of Hollywood Westerns and telenovelas with a wink or two to some queer cinema classics, Céspedes has bold artistic aspirations.

Throughout this journey across North Africa, Laxe peppers the film with moments that touch on pertinent themes such as the power of a chosen family, Western society’s naive self confidence when confronting the environment, and perhaps most poignantly, the fallacy that because we have so little control, we can dance away as the world crumbles around us.

In the hands of another filmmaker, these events could be the sparks of loud and fiery confrontations, but Simón insists they play out in a grounded, quiet fashion. There is barely a hint of melodrama, even when you can sense the tension amongst the siblings and their parents.

Heavens, that masterful first half of filmmaking. That quiet, subtle love affair. That charismatic pairing between Mescal and O’Connor, which, for a moment, feels like a cinematic romance for the ages. Oh, I’ll pay a ticket just to experience that again, absolutely. But just that. Just that.

As with much of his previous work, Trier is masterful with delicate, humanist moments.

The film’s saving grace, of course, is Squibb. When the movie needs her the most, she delivers. She brings the laughs and – almost – gives the film the emotional ending it’s aiming for.

Despite a fantastic performance by Fares (and a stellar score from Alexandre Desplat), “Eagles” doesn’t have the emotional gut punch you’d expect. But you believe that everything Saleh depicts can or will occur, and that’s an achievement in and of itself.

The result is a drama full of intriguing ideas, and one unexpectedly memorable performance, that is often more obvious than it wants to be.

What this collection of bold artists has pulled off is a fascinating portrait of one man coming to terms with his own identity in a genuinely original way.

Herzi’s directing skills have showcased her talented cast. Her slick aesthetic has given the tale a needed polish. But will the rest of it stay with you? For someone, somewhere, in a similar situation, if they can find a way to see it, it no doubt will.

Loznitsa and his creative team have been meticulous in how every shot plays out. And as hinted earlier, the entire motion picture is meticulous to a fault. It’s only a somewhat twisty ending that saves the endeavor from blowing its relevance away.

It’s no shame that this thriller isn’t even in the top pantheon of Lee joints, as he refers to them. The man has some masterpieces on his resume. It might be in Washington’s, however. He’s so viscerally engaging that you want to see the movie again just to enjoy his performance.

Despite a committed performance from Benedict Cumberbatch, the end result truly doesn’t coalesce either from an artistic or cinematic perspective.

An incredibly ambitious film that, at times, astounds and then somehow can’t completely stick the landing.

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

What truly elevates Plainclothes in this genre are the contributions from Tovey and Blyth.

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