Karen Gordon

If His House doesn’t quite achieve the deeply unsettling tone that makes a good horror movie hard to shake, it still succeeds as an exploration of trauma, and the way it can shape and challenge the human psyche.

On the surface, Luce is a study of race and privilege in contemporary America. But it’s more broadly and more subtly about family relationships and the psychological deals we make with others and ourselves.

If you're looking for a little kid–friendly movie, Pixar’s delightful new animation Elio is just the ticket.

Into the Weeds: Dewayne “Lee” Johnson vs. Monsanto Company is a cautionary environmental story, that raises unsettling questions about what’s in the food we eat, and how our farming practices are affecting the biosphere.

From very early in the film, we have a sense where it’s all going. With no real narrative surprises then, the movie becomes all about the characters and the journey. Aster’s playing out of the journey is problematic.

The movie jumps between reality and fantasy, and its device, Zed’s autoimmune disease, where the body is literally rejecting itself, is perhaps a bit of an obvious metaphor for Zed rejecting his cultural roots. But strong, heartfelt and sincere performances, especially by Ahmed and Kahn draw us in.

There is enough story, enough heart and action here for a fun time at the movies.

The nut of the movie, the thing I return to again and again when thinking about it, is the issue of how much the odds were stacked against Kusama. Kusama-Infinity is a perfect movie for the #metoo era: A glimpse into the life of a woman with a vision who had the misfortune of being born at a time when even what was arguably the most progressive culture felt that it was just fine to ignore a woman’s voice.

Penélope Cruz anchors a lightly drawn drama about a family in a quiet state of turmoil in the Italian film L’Immensitá.

The good news is that director James Mangold has made a rich, vibrant movie chronicling four key years in Dylan’s life and career without demystifying either the man or his creative process. Together with a uniformly brilliant cast, he’s made one of the best films of 2024.

For sure, the film is heartwarming, and it is fun to watch Dindim waddle around and engage with the human world, adopting Joao as a family member. But that’s not quite enough to overcome the film’s problems.

The Justice of Bunny King, which follows the story of a woman at odds with the system, is a showcase for the superb Australian actress Essie Davis.

While it’s fun to see the characters back in action, The Devil Wears Prada 2 is overstuffed and meanders. The film also suffers from self-consciousness. Too many celebrities show up in ways that feel pointless, turning TDWP2 into self-congratulatory mush.

The scenes feel like they've come straight out of 1970s and 80s B-comedies, outdated and out of step with the main plot, which feels richer in comparison. It’s distracting enough to slow the movie down.

It aims to be easy-going, entertaining and joyful, without being taxing or too stressful. At the same time, its reluctance to dig too deeply robs it of some of its emotion and makes it feel superficial.

No one sets out to make a bad film, but at over two hours, the shot-in-Toronto Big Gold Brick seems like a bunch of ideas that must have looked good on paper, but just didn’t gel. Both Garcia and Isaac are terrific actors, and charismatic as hell. But neither can bring this listless film to life.

Late Night is a light-hearted comedy with something to say and an excellent cast, that is unfortunately hobbled by a storyline that doesn’t quite add up.

Women, men, relationships, the patriarchy feminism, nature, and body-horror merge in writer/director Alex Garland’s creepy, allegorical art-house horror thriller Men.

The movie looks pretty good, given that it’s small budget effort, and it achieves a sense of tension. But beyond that, the result is frustrating.

It’s a rare thing to see a movie about failure that a) is plays like a gentle rom com, and b) is not about utter neurosis. But Standing Up, Falling Down is a small sweet, slightly flawed movie that is both of those things.

Materialists is fun and satisfying and, thanks its wonderful cast, full of tender sweetness.

In the end, The Phoenician Scheme has a warm and beating heart.

There aren’t zombies rampaging through Norwegian director Thea Hvistendahl’s quiet film. Instead, the spare, slow-paced, thoughtful film is an affecting story about coping with grief.

If you’re yearning for a Western with a vintage feel, and a touch of mythos, writer/director Potsy Ponciroli’s homage to the genre, Old Henry will nicely fill that bill.

Anchored by a superb performance by Emily Watson, God’s Creatures is a small, quiet film that packs a surprising punch.

I Am Greta is a wonderful, rich documentary and at points it moved me to tears.

It’s an easygoing, highly enjoyable look at the life and considerable influence of Julia Child.

Boy Erased isn’t the powerhouse that it could have been. But the movie has heart and soul. And, given that Gay Conversion Therapy centers still exist, the story at the core of the film is an important one.