Ross Bonaime

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.

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.

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.

What Song has done is make an excellent version of those types of romance films from yesteryear, yet one where these characters have depth, layers, and are more considered than we might have received in those films.

The Threesome is not without its flaws, it could absolutely use some fleshing out in some key parts, and its ending feels like a bit of a cop-out, considering everything that comes before it — yet it delivers when targeting the big emotional core that makes this story special.

Relay is a tense, edge-of-your-seat ride that reminds you that they do still make them like they used to, it’s just, unfortunately, not nearly as common anymore.

It's a deliberately-paced drama with some decent performances and a gorgeously dark aesthetic, but lacks the time or effort to give these stories what they need.

Louis-Dreyfus is subtly excruciating in her grief here, and it’s marvelous to watch her work in a story that allows her to play with such a range of feelings.

Through its exploration of Navajo culture and life on the reservation, as well as the troubles and beauty of that community, Rez Ball smartly explores dark topics in a way that doesn’t suffocate the underdog story within.

Malcolm Washington shows himself to be a capable director, expanding this story in the ways he can while staying true to the source material. This cast also knows how to elevate Wilson's words beautifully, whether it's sticking close to a more stagelike performance or bringing new life to this story, as Deadwyler does.

It’s entirely possible you won’t see a scarier movie this year than Orwell: 2 + 2 = 5.

Are We Good? isn’t just an enthralling look at pain, loss, and how we handle unexpected grief; it’s also a reminder that life is always full of surprises — both good and bad — and that unexpected journey will certainly have you asking "WTF?" throughout.

The Greatest Night in Pop is a worthy story in its own right, but a bit more of the director's touch could've done justice to this gigantic achievement of pop music history.

In just under two hours, Apatow and Berkeley truly do their best to cover every facet of Bamford, and it is an impressive document of her greatness.

Einbinder, Reynolds, Gluck, and Theroux are appealing as a team, but Strouse doesn’t give them any weight on their own, which leaves this story feeling fairly one-dimensional. Seekers of Infinite Love will, unfortunately, leave you searching for more.

Jim Henson Idea Man is an adoring look at this remarkable man that never slips into hagiography, yet, it’s a documentary that will only make you appreciate the multitudes that made Henson who he was.

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.

The Luckiest Man in America is a strong story when it sticks to the facts, and Hauser is undeniably an excellent choice for this role, but the film really presses its luck by taking such huge liberties with the facts.

Even though the film does at times feel like it's setting up for future projects, it never feels burdened by this, but rather, like we're seeing the natural progression of where these characters' stories should lead. Thunderbolts* is a pleasant surprise in the MCU; it only took a team-up of Marvel’s unlikeliest superheroes to bring it out in them.

While Kill Me doesn’t stick its landing, this is an impressive debut from Peter Warren, and it shows how well he can mix extremely dark subject matter with an engaging mystery that’s also quite funny.

Leave the World Behind is a smart, compelling take on the end of the world, and proves Esmail is a writer-director who deserves larger-scale projects like this after his television successes.

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.

The Day the Earth Blew Up: A Looney Tunes Movie shows just how much life there still is in these characters and this world, and that they’re malleable enough to continue providing entertainment to every generation. The Day the Earth Blew Up is the welcome back that the Looney Tunes have long deserved.

F1 is an absolute blast and one of the most exciting films to come out this summer, a film that will put you on the edge of your seat and make you glad that filmmakers like Kosinski are still making films like this today.

Deadpool & Wolverine is a shot in the arm that the MCU needed, and finally shows the full potential of Ryan Reynolds' Deadpool.

It ends up becoming one of the best DC films in years, and one of the best movies of the summer.

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.

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.