Ross Bonaime

What could've been a halfway decent dumb idea becomes a full-on nightmare of bad choices and terrible filmmaking.

There's a fascinating world to explore here, and Ant-Man finally gets close to the full realization of the potential of his character and this concept, but it all, unfortunately, gets overtaken by the Conquerer. Quantumania is a promising, but shaky start for Phase 5 of the Marvel Cinematic Universe, it's just a shame it comes at the sake of the little guy.

Landscape with Invisible Hand is certainly a mixed bag that isn’t nearly as tight as Finley’s previous work, but the bold attempt to make something so unique and singular makes this wild story ultimately work.

That’s the beauty of what Carney has created here, a film that wraps you in and absorbs you with its loveliness and charm, to a point that you don’t want to leave its presence.

Song’s work here is incredible, as this story of the past and present, and what it means for the future is a carefully handled story told with love and heart. Greta Lee, Yoo Teo, and John Magaro make an incredible trio of performances, each of which hits on a unique and important perspective on this tale, in a film that you won’t want to leave, and will stick with you for long after.

Sachs’ story comes to life thanks to these three excellent performances that aren't afraid to explore the selfishness and desires of passion, in a story that finds the power of shared pain and love.

A Little Prayer is often a fairly still story, but it all builds to a beautiful moment between Bill and Tammy, where we get to see the true impact of MacLachlan's tale hit the audience in full force.

Williams’ story of coming out and acceptance is both riveting and often touching, and Bernal gives quite possibly his best performance in this beautiful story of finding yourself and becoming who you were always supposed to be.

Theater Camp isn’t without its weaknesses, but the hilarious cast—like their characters—are game for anything, and the jokes are flying fast and mostly landing.

Even though the flaws in Last Dance are glaringly obvious—not only is this the worst of the Magic Mike franchise, it’s also clunky in a way Soderbergh films rarely are—it’s still hard to not get caught up in the celebration of it all.

You Hurt My Feelings is the type of film that reminds us why Holofcener is one of the best writers of comedies today, and that her ability to write films with such small consequences can often feel like a massive achievement, as these are situations that feel honest and human and wholly earnest.

Little Richard: I Am Everything has to do a lot in its relatively short runtime, from exploring the origins of the musician, explaining both sides of his personality, and also diving into Richard’s influence on the future of music. Thankfully, Cortés’ documentary handles all this beautifully, and will make the viewer want to immediately learn more about Richard, his extremely fun work, and the life that impacted so many around him.

Eileen is an intriguing little story that shifts and alters the further it goes, playing with the audience, and giving them the opposite of what they’re expecting. Eileen isn’t going to be everyone's cup of tea—especially those who think they know exactly what they're getting themselves into—but Eileen is an admirable bit of defiance that is a joy to live inside for 90 minutes.

Englert has talent, and there's ambition and chunks here that work in bits and pieces, but unfortunately, Bad Behaviour is too scattered and too unfocused to add up to much at all.

There are great ideas within Cat Person, and when this story sticks to the meat of the original story, it’s a fascinating look at dating from a female perspective. Unfortunately, the nose dive in its intent in the final act, when Cat Person gets away from the short story, makes Cat Person two-thirds a solid film, and one-third an absurd blunder.

If anyone could’ve updated this story for 2023, it’s Barris—as he's shown with black-ish. But instead, You People is a missed opportunity, a half-assed reinterpretation that is only sporadically funny, and without the heart or the substance that this story would need for it to truly work.

Chumbawamba was clearly a band that wanted to do great things and fell short of that goal, and similarly, I Get Knocked Down is a curious concept to explore, but gets bogged down in its apparent attempts to be weird for the sake of being weird.

At its very core, Knock at the Cabin works because it reminds of the early days of Shyamalan, when he felt like the next coming of Alfred Hitchcock, and his films would leave the audience talking for days after.

When Jones and McNairy are playing off each other, Fairyland really finds the beauty of this story. Especially in the third act, as this relationship becomes more difficult and uncertain, both present themselves as people who struggle with the balance of doing what's right for themselves and doing what's right for each other.

The Pod Generation ends with a thud, leaving the audience to question what the purpose of this endeavor even was.

Magazine Dreams is a difficult and challenging watch, bolstered by an incredible performance by Majors that could easily end up being one of the year's best.

Still: A Michael J. Fox Movie can be a bit standard as far as biographical documentaries go, but when the subject is someone as much to watch as Fox is, it’s hard to care too much about the form when the content is so captivating.

With The Son, Zeller is trying to bring the same sincerity he brought to The Father into his second film, and instead, The Son unfortunately feels false throughout.

Sometimes I Think About Dying is a dark comedy of restraint and quiet, but that silence holds an incredible amount of power and emotion. Ridley gives what might be her best performance, and Lambert knows exactly how to balance the delicate mood of the film.

Cronenberg still is one of the most intriguing horror filmmakers working today, and when Infinity Pool is working, it's unlike anything that you've ever seen. But when comparing Cronenberg's approaches in this to something like Possessor, it becomes clear that it's better when there's a method to Cronenberg’s madness.

The Seven Faces of Jane is a curious experiment, but ultimately, a failed one.

Structurally, Missing can often feel a bit too much like Searching at times, but by the end, it finds its own path in this intriguing way to tell a mystery.

Especially compared to the 2015 adaptation, A Man Called Otto is a clunky update that often feels like it's full of cartoonish characters, with poor music choices, and cloying sentimentality. But when Forster and Magee pull away from these eccentricities, the story of Otto and Marisol is often a thing of beauty, and wonderful friendship that is lovely to watch grow.

Babylon is often pure mayhem, but it’s the beauty of life and film itself underneath that makes this one of the best movies about movies this year, and one of the best films of 2022.

In three hours, Cameron turned this Avatar nonbeliever into a viewer who can’t wait for a new sequel every two years. Avatar: The Way of Water truly feels like a fresh start for this series, as Cameron and his team address the weaknesses of the first film, improving the script and characters, while also creating one of the most extraordinary experiences one can have at the theaters.

Even though the brutality is seemingly never-ending, we never dull to the constant barrage of pain—both physically and emotionally. Yet when Fuqua and Collage aren’t focusing on the cruelty of this world, the film stops dead, lumbering through the motions, complete with derivative choices, characters, and dialogue.

Guillermo del Toro’s Pinocchio shows that if you’re going to adapt this story yet again, it’s best to bring something exciting and new to it, as well as put some of your own personality into it.

As rich and exciting as this new world is, the characters and script that have been thrown into this scenario are fairly banal, full of tropes and platitudes that we’ve heard countless times in this type of film.

The Mardini sisters in real life went through hell, and their journey is incredibly powerful, considering what they went through. But The Swimmers only occasionally gives this story the power that it needs, instead, falling into easy tropes and an unfocused narrative.

Disenchanted posits that happily ever after isn’t always the ending of the story, but Disenchanted also proves that sometimes, maybe it should be.

The key to what makes this newest retelling work is the combination of Ferrell and Reynolds, both of whom are able to play to their comedic strengths, while also having the opportunity to do some solid dramatic work as well. This duo is delightful, and as they work together on Christmas Eve, it’s wonderful to watch how this relationship shifts.

Wakanda Forever isn’t perfect, but its ability to handle this tightrope walk between exploration of loss and a larger superhero film makes this one of the most moving MCU entries so far, and one of the best films to come out of Marvel’s Phase Four.

In a filmography that is full of impressive journeys through space, history, and staggering emotions, Armageddon Time feels like one of Gray’s most ambitious tales so far, even if it isn’t quite as effective in presenting its ideas as it should be.

The Good Nurse is a shocking drama that seeps under your skin with its ferocity and terror. Yet Lindholm makes this story about a disturbing individual into a film about how important kindness and consideration for others can mean in the larger scheme of things.

Even if you’re not a fan of the music of Tucker or Carlile, The Return of Tanya Tucker: Featuring Brandi Carlile will have you hoping for the best for both of these incredible musicians.

Rosaline's shows its strengths when it focuses on the parallel story of Rosaline and Dario, but when the narrative crosses paths directly with Shakespeare’s story, Rosaline starts to fall apart, becoming a muddled mess of modern references, unusual characterizations, and ideas that don’t mix as well as they should.

Black Adam isn’t a full-on course correction for the DCEU, but it is an encouraging new installment in this larger universe. Collet-Serra knows how to present this darkness and antihero in a way that’s effective, while also fleshing out one of the most promising additions to DC’s ever-expanding cadre of characters.

Even though Sidney takes a fairly elementary look at Poitier’s career, it’s still extraordinary to see the contributions this man had on the world lined up in this way. Poitier left an indelible change on entertainment, the culture, and society at large, and Sidney makes us aware that this world wouldn’t be the same without Poitier.

García’s latest film is a predictable, completely fine, but uneventful dramedy that never quite finds a way to dig itself out of mediocrity.

The beauty of Decision to Leave is how Chan-wook can set his table with so many ideas, diversions, and elements, all making for an overly exquisite experience. Not only does Chan-wook blend detective mystery and romance, but Decision to Leave is weirdly funny, full of dark humor that fits in perfectly with everything else.

Susie Searches has its heart in the right place, and this could’ve been the beginning of an interesting mystery series of sorts, full of intriguing characters, twists and turns that are hard to see coming—even for Susie. But the mishandling of tone and unusual shifts in logic and character motivations makes this film more of a mystery in itself.

The Swearing Jar is a decent idea, but the screenplay and editing draws attention to itself in a way that takes away from the film’s biggest moments—a shame considering these moments could’ve been extremely effective if handled in a slightly different way.

Return to Seoul is a powerful and quietly staggering work, and one of the most engrossing films of the year.

In a career full of great performances, Swinton continues to do some of her finest work with Hogg, and Hogg once more proves that she’s one of the most remarkable personal storytellers in cinema today.

Empire of Light ultimately becomes a confusing mixture of ideas that never congeal into one solid narrative. Yet Mendes’ film does have the tiniest slivers of magic poking through the seams, proving his thesis about the beauty of film, even when he’s too distracted to focus on that idea himself.

Like the relationship between Lynsey and James, Causeway is a film that slowly grows on you, a film that puts on a tough front—with its devastated characters and desire for escape—yet at its center is a tremendous about of heart, love, with its found families and shared pain.

Confess, Fletch is decent—not quite a great mystery, not an excellent comedy, but fully enjoyable for what it is. A major part of that is Hamm’s ability to play up his charms, while also showing his gifts as a comedic actor.

It’s so much fun to watch Johnson in this mode, especially with a cast this relentlessly fun and playful. With Glass Onion, Johnson proves himself to be a film disruptor of the highest order.

Spielberg has given us all so much magic over the course of our lives, and The Fabelmans becomes yet another Spielberg masterpiece, but this time, by showing us how this magic came to be in his own life.

Seydoux brings both parts of this story together with grace and charm, and an honesty that makes this one of her best performances so far. Hansen-Løve’s story is deceptively light, yet packs an emotional wallop as it explores the impact that love—and our separation from such love—can have on a person.

Eichner and Stoller have written a film that plays to both of their strengths as storytellers, all while making one of the funniest and most romantic films of 2022.

Östlund's comedy of inequality and broken class structures might be a bit too blunt at times, slightly too long, and is often best when at its simplest, but Triangle of Sadness is too fun and ridiculous to not enjoy, and compared to The Square, is a step-up in Östlund's criticism of the bourgeoisie.

Weird might not be the best biopic parody (Walk Hard still holds that crown), but it is an absolutely charming and often hilarious look at the world’s greatest parody musician, packed with an excellent cast that wants to pay tribute to this weird man. Weird dares to be stupid and succeeds because of it.

In Clerks III, Smith returns to where his career began and has made one of his best films in decades, a tender and compassionate look at friendships that last no matter what, a remembrance of where Smith came from, and an appreciation for all those who helped him along the way.

If the 1940 Pinocchio showed that any wish your heart desires could come true, this remake shows what happens when your nightmares come to life.

Funny Pages is a beguiling debut, but it’s also one of the most compelling and unique takes on the coming-of-age genre in years.

Miller’s modern fairly tale is full of beauty, love, and care, even if the film often focuses on the grand instead of the modest moments.

Beast has its flaws and is mostly by-the-numbers, but if the idea of Idris Elba fighting a lion is something that is of interest to you, then Beast is going to deliver.

Yet even though it never quite reaches its full potential, Day Shift is enjoyable for the aspects it does want to focus on, even though it’s hard not to wish it would investigate the larger world further.

Possibly the biggest surprise to Luck is just how generic and uninspired it feels, despite how many ideas are crammed into this story. There’s no wonder, no excitement, no jokes that land.

Bullet Train is knowingly absurd and has plenty of fun with the wild lengths it can go, and for the most part, that keeps Bullet Train on the rails.

There’s promise, but Vengeance at times feels like a West Texas version of Under the Silver Lake, but without the focus and care. Unfortunately, Ben’s editor was right, Vengeance is more a theory than a story.

Beyond these two endearing actors being able to gleefully chew the scenery, The Gray Man is mostly a collection of tired spy tropes, directed in a muddled and baffling way, that seemingly exists to set up what seems like will be a fairly unimaginative franchise.

The real beauty of Nope, however, is watching Peele explore this playground, continuing to prove that he’s a maestro at crafting stories that are extremely weird, yet engrossing and impressive to watch.

In its own way, Persuasion is trying to persuade its audience that Austen was brilliant in her modernity, when Austen already handled that quite well without Cracknell, Bass, and Winslow’s help.

Mrs. Harris Goes to Paris is a quiet delight, a perfect summer interlude that exudes beauty, optimism and charm in every scene. Mrs. Harris Goes to Paris feels like capturing joy in a bottle.

Who knows what Paws of Fury: The Legend of Hank could’ve been when it was originally envisioned over a decade ago, but what it ultimately became is a tiresome, tedious, and uninspired animated adaptation of a classic parody that doesn’t have any of the original’s comedic wit or bite.

Fleischer-Camp and Slate are able to expand Marcel’s story in a way that doesn’t stretch out this concept, but rather, expands the possibilities of Marcel’s grandiose world and shows us our world from an entirely new perspective. Marcel the Shell With Shoes On is a film with massive ambitions and an even larger heart.

While Luhrmann can do his best to recreate the glitzy, nonstop nature of Presley’s life, in those final moments, it’s easy to see that Elvis lacked the weight that this real footage captures. It’s that little bit of substance that reminds how hollow the previous hours of style have been.

Father of the Bride has its heart in the right place, trying to adapt this beloved story for another generation and audience, but by shifting too much away from the traditions of the past, Father of the Bride doesn’t have the same magic that its previous versions have been able to generate.

Lightyear is still an extremely fun action sci-fi film that is better than most animated films released in a given year, and will bring a smile to fans of this character.

Kosinski has already made one of the year's best movies with Maverick, and with an extremely intriguing concept and fantastic performances all around the board, Kosinski has for the second time this year made one of the best movies of this summer.

Dominion isn’t just the worst film in this frequently disappointing franchise, it’s also one of the worst major blockbusters in recent memory.

Hustle isn't breaking the mold of what a sports film can be, but it is yet another reminder of Sandler's gifts as a dramatic actor through an extremely charming and compelling story about a mentor trying to help another reach their potential.

For all its faults, Mickey: The Story of a Mouse is at times a charming look at one of the biggest icons of our time, and while this story has been told many times before, it’s never been told with the sort of scope and frankness about how Disney has maybe failed with their mascot.

Emergency is ambitious and daring in what it’s trying to say and do, but a mishandling of pacing, serious issues, and pseudo-parody hurt what is a truly intriguing concept.

Diwan’s reflective, quiet tone only highlights the sheer dread of this situation, and shows that restriction and taboos about such issues only makes this world a more cruel and terrifying place. With Happening, Diwan has crafted a horror story that is becoming a haunting and very real possibility.

Cronenberg certainly still knows how to create arresting imagery and craft stories that can make the audience squirm, but the story that isn’t being told with Crimes of the Future is far more interesting than the one he has decided to focus on, which often feels like regurgitating concepts he’s already handled before.

Fire Island is a strong update to Austen, full of charm, heart, and friendship, yet Booster's screenplay works best when it is not relying on the source material and having fun with this fun concept. With an excellent cast and a perfect blending of Ahn and Booster's talents, Fire Island is an extremely enjoyable trip.

Through We Feed People, Howard shows how impressive and powerful Andrés’ operation is, often covering large areas that need disaster relief. At certain points in We Feed People, even the Red Cross and Salvation Army are asking for help from Andrés in these truly awful times.

The Bob’s Burgers Movie isn’t exactly breaking new ground for this world and these characters, but instead, is showing how impeccably crafted and brilliant this world is when it's firing on all cylinders.

A New Era shows that Downton Abbey doesn’t have to sacrifice joy to also explore sorrow and pain. Amongst charming tales of Hollywood and French getaways, A New Era delves into loves lost, missed opportunities that leave its mark on our lives for years, and how one will be remembered long after they’re gone.

Chip ’n Dale: Rescue Rangers is an ingenious parody of our IP-obsessed culture that also manages to show how joyous and brilliant this combination and celebration of old properties can be when done extremely well.

Ashford’s screenplay and Madden’s excellent direction all manage to take what could’ve easily been a fairly standard historical war drama and turn it into something more intricate, layered, and surprisingly powerful.

When talking about Top Gun: Maverick, it’s hard not to sound hyperbolic, but this is the rare case where it absolutely deserves all the massive praise. Top Gun: Maverick improves upon the original in every conceivable way (well, the soundtrack doesn’t have Berlin, so that’s one strike against it), and does so in a way that might make this one of the greatest sequels ever made. It’s also hard not to say this might have some of the most exciting action scenes to ever hit the skies, and gives Cruise one of his best performances by returning to the role that made him a star. Top Gun: Maverick is a marvel of a film, one that will truly take your breath away.

It is exciting to watch a writer and director like Garland take a huge swing like Men, even if it doesn’t entirely hold together as tightly as something like Ex Machina or Annihilation. Men is certainly more about asking questions than providing answers, a challenging, strange, and often horrendous journey that certainly doesn’t hold back in terms of weirdness, and wants to crawl into the viewer’s brain.

As a film that highlights Raimi’s talents as both a director of distinct superhero stories, and idiosyncratic horror tales, Doctor Strange works. Yet as a larger piece in the ever-expanding Marvel Cinematic Universe, the Multiverse of Madness starts to show the cracks in trying to continually attempt to build and one-up what came before.

The Survivor is too frequently going through the motions of tried-and-true biopic stories that we’ve seen countless times before, or making choices that seem daring, but ultimately hold back the power of Harry’s story.

Stay Awake is certainly a balancing act of addiction, compassion, difficult choices, that still manages hilarious moments and periods of joy. Stay Awake isn’t just an integral film about addiction, it’s also one of the best directorial debuts of the year.

The Bad Guys brings a deep love for heist films to this animated adventure, and in doing so, creates one of the year’s best animated films.

Accepting the World’s Fair Challenge isn’t a way to experience a The Ring-like challenge that will probably lead to horrors beyond one’s wildest imagination, it’s a way to be part of something, damn the consequences. Schoenbrun’s impressive debut latches onto that idea of online communities, coming-of-age, and finding one’s own people through a genuinely uncomfortable and unique horror story unlike any other.

With Petite Maman, Céline Sciamma crafts a staggeringly gorgeous fairy tale about the little things we don’t get to learn about the ones we love, the struggles of loss, and the loveliness of those that came from the path behind us.

Audiard, Mysius and Sciamma, along with their fantastic cast, create an enchanting and seductive story told through an intimate group of relationships. This beautiful and simple story of young love and finding one's self through love is one of the most romantic and sexiest films of 2022 so far.

Instead of having to explain this universe, The Secrets of Dumbledore can let us sit with these characters reckoning with the loves they’ve lost in quiet and gentle ways, create a captivating and often hilarious action sequence with a multitude of beasts, or explore the history of Dumbledore’s family with subtlety.

When You Finish Saving the World is often acidic to a point that might scare away some, but at its core, Eisenberg’s film is an endearing story of mother and son who were once so close, and now struggle to get what they need from each other anymore.

Lucy and Desi isn’t breaking the mold in terms of biographical documentaries, but when put together in this package, the story of Ball and Arnaz has an impressive weight beyond just a collection of compelling anecdotes.

Gillan gets a great opportunity to show her comedic skills, and Stearns remains a solid purveyor of dark comedy, but Dual’s gloom eventually overtakes the absurdity to a depressing degree.

Pomerantz’s screenplay is deceptively complex, yet it’s pulled off effortlessly. Pomerantz is presenting ideas of self-discovery, lifelong friendships, confusion and uncertainty in who a person is, and handling all this in a remarkably entertaining and endearing story.

Meet Me in the Bathroom is a tremendous document of one of the most integral musical periods of our time, when the kids asked "is this it?" and responded by changing the world.

Emily the Criminal is an excellent example of how to make an effective thriller on a smaller scale.

With only two films, Raiff has proven himself to be one of the most exciting filmmakers today, telling stories that are emotionally honest and lived in, without any pretensions and with an unabashed tenderness.

Jackass Forever is ingenious, disgusting, and one of the most hysterical films you’ll see this year, while also managing to be a wonderfully touching celebration of these jackasses and their history together.

Moonfall, unfortunately, becomes a mixture of Emmerich’s usual clichés that are starting to show their age, a script that only occasionally embraces the insanity of this idea (even though the third act goes all-in on getting mind-numbingly stupid), and a scope that doesn’t do this story justice.

Death on the Nile might have been a long time coming, but it’s one of the most alluring mysteries in years, and a great example of how Branagh can elevate iconic stories with grace and care.

With a great lead performance by Kravitz, a plot that—like the KIMI device itself—is persistently upgrading and shifting, and a shockingly optimistic story despite the fear of the technological world, KIMI is a shining example that Soderbergh is one of the best directors working today.

I Want You Back largely relies on the overwhelming charm of its tremendous cast, and in particular, the magnificent dynamic between Slate and Day, but that’s all I Want You Back really needs.

The Sky Is Everywhere takes a lot of swings that miss, but the heart of the film is in the right place, and when it really works, The Sky Is Everywhere knocks these emotions and ideas out of the park.

After a decade away, Jeunet has returned to embrace all of his worst eccentricities to create an absurd mess.

There are few filmmakers that can make the leap from smaller, insular stories into large-scale epics, but with The Northman, Eggers has proved that his style and substance can remain intact, regardless of the size of the story.

The Unbearable Weight of Massive Talent—even when it doesn’t entirely work—shows the dedication and greatness of Cage, the impressive breadth of his career, and proves that Cage is, indeed, back. Not that he went anywhere.

It’s truly impressive that Fowler has found a way to integrate the wild world and characters of the Sonic the Hedgehog games into the real world in a way that actually works, but it’s a shame that it comes at the expense of the story of friendship that made the first Sonic the Hedgehog film so charming.

Metal Lords ends just when it feels like it’s finding its footing, with its characters taking too much time to address their flaws, leaving the music and the bonds that have been formed via the music, on the back burner for too long.

Not all of Arnold’s usual tricks work effectively in Cow, but for a first documentary, Cow is an engrossing and surprisingly emotional look at the farming industry through the eyes of a single bovine.

I Love You Dad has its heart in the right place with its cringey narrative and story of how much forgiveness those who love us truly deserve.

While the free-flowing structure of Spin Me Round works in bits and pieces, there’s very little overall purpose to the narrative Baena and Brie have crafted here.

This Much I Know to Be True might not dig as deep into the lives of Cave and Ellis as one might hope for a film billed as a documentary, but the performances captured here more than make up for that.

West has made an extraordinary tale of the personal universes we all inhabit, the strange messiness of life, and the beauty of how everything all shakes out in the end.

Until the Wheels Fall Off could’ve maybe explored Hawk’s personal life with a bit more focus, but Jones still creates a captivating, edge-of-your-seat documentary that manages to make the idea of landing a trick a genuinely moving scenario.

Plemons, Collins, and Segel elevate this basic story beyond more than just a generic noir homage, but it’ll likely leave the audience like Nobody: willing to accept less when they should be asking for more.

In the end, The Cow ends up a collection of tonal blunders and performances that are too big for this smaller-scale thriller.

By cutting back and simply sticking to the thrills and the madness of this situation and little else, Bay has made one of his best films in decades.

The Bubble feels like the least personal film Apatow has directed so far, a film that seems like more of an excuse to just do something during the pandemic, instead of Apatow having something to say.

Apollo 10½ can at times feel like the greatest hits of Linklater and what made him who he is, but that’s a welcome change, and a reminder of his strengths as a filmmaker.

Daniels explores the hopelessness of depression, the little miracles that truly make life worthwhile, how acts of kindness can be an extraordinary asset, and—most fitting to this film—how it’s OK to be a mess.

Beyond some decent performances that aren’t done justice by this script, and some fairly wild leaps into horror, Forbidden Fruits isn’t ripe, it’s just rotten.

Theater of Thought could've easily become a straightforward documentary about the evolution of thought and the fascinating science behind our brains, yet in the hands of Herzog, this topic becomes far more entertaining, as he approaches the topic with a wide-eyed wonder that lets this subject go down smooth.

Like so many of Frears’ films, The Lost King works because of the compelling cast on hand.