Ross Bonaime

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.