Joe Lipsett

Eight for Silver works best as an atmospheric period werewolf film with outstanding gore effects and creature design. Working against the film, however, is Ellis’ padded screenplay chock full of rote characters, drawn-out human conflict, and an ill-advised flashback structure that rips apart its final act.

John and the Hole is more of a collection of memorably uncomfortable scenes as opposed to a cohesive (w)hole.

Freed from studio constraints, In The Earth is a psychedelic visual spectacle and a gory philosophical treatise on humanity’s nebulous and threatening relationship with nature. Restless audiences may quibble with the pacing and length, but fans of bombastic visual sequences and discomforting violence will find plenty to like.

Despite a striking production design and the strong performance by lead actress Niamh Algar, the narrative familiarity of the second half and restrained climax let the film down.

Despite great direction by Mortensen, who also delivers a strong performance alongside Henriksen and (briefly) Linney, Falling is a repetitive and exhausting exercise that never gets around to unpacking why the audience should care about its ailing patriarch character. It’s too long and too one note for too little pay-off.

Regina King’s directorial debut is a quiet and contemplative film, filled with powerful mediations on race, responsibility, and revolution that are both timely and entertaining

Pieces of a Woman offers a superb performance by Vanessa Kirby, and the most unnerving opening of any film in 2020, but the familiar examination of marital disintegration struggles to sustain interest or justify its lengthy runtime.

Nomadland is a gorgeous, lyrical film featuring another standout lead performance by Frances McDormand. Chloé Zhao’s latest is a testament to the beauty of the American Midwest and the value of living an unorthodox life.

It is as much a celebration of song and contemporary dance as it is a call to action about the need to embrace our humanity and connect with others. Quite simply: it’s a joy.

The Pool is easily one of the best single location, high concept thrillers of the year. While its social commentary on abortion feels a tad old-fashioned, the action sequences and the escalating threats make for a great time at the movies.

Ultimately Fantasy Island’s four-for-the-price-of-one narrative and its excruciating hour-and-50-minute runtime doom it. The film is visually bland, lacks charismatic characters or interesting backstories, and long overstays its welcome with an egregiously protracted third act that feels interminable.

Underwater is a solid creature feature that isn’t afraid to acknowledge its sub-genre predecessors. Kristen Stewart shines amidst a mostly likable cast, anchoring a film that moves at a relatively brisk clip, particularly in its bombastic opening and closing sequences.

Sadly, The Grudge is an underwhelming entry in the long dormant franchise. This cursed production — delayed from release last year — hardly feels worth the wait, and is certainly not worth the price of admission.

Despite failing to offer much in the way of freshness or originality, fans of the original will still find this new adventure a suitable companion piece. If nothing else, Double Tap should help to raise the public awareness of Zoey Deutch’s greatness, which is reason enough for the film’s existence.

In spite of sensational direction from Trey Edward Shults and raw, emotive performances by Kelvin Harrison, Jr. and Taylor Russell, the polarizing two narrative halves of Waves don’t gel to produce a satisfying whole.

Ford v Ferrari is a classic Hollywood underdog film about friendship and overcoming obstacles. Mangold’s direction is serviceable, but unspectacular, while Bale is a dynamic presence.

Johansson and Driver both give strong performances, while the use of supporting characters for comedic levity is smartly executed. While the content of the film isn’t happy per se, audiences will find much to like.

The Death of Dick Long offers its share of amusing dark comedy, but the film leans too much on Alabama stereotypes and inherently stupid character decisions to advance the plot.

Waititi’s witty script and colorful supporting role as Adolf Hitler are the obvious comedic highlights of Jojo Rabbit. But the film only works because it manages to nail its balance of tones.

The Lighthouse is a stunning sophomore effort for Eggers, featuring two exceptional performances by Dafoe and Pattinson and a stunning visual and aural aesthetic.