Sumner Forbes

Their chemistry as performers together is particularly noticeable, so it’s a shame more focus wasn’t given to keeping the three of them on-screen together as much as possible.

Indeed, many professed aficionados of non-narrative cinema are averse to such formal adventurism, but with the right state of mind and their curiosity peaked, there’s no doubt that adventurous film-goers will find this to be one of the most striking documentaries of 2024.

The Devil’s Bath is one of the more memorable foreign horror movies in some time.

It’s blend of emotional realism, a fantastic lead performance, and exacting direction from Pankiw (a filmmaker making the transition from television with aplomb) make for one of the essential movies of the season.

Tiger Stripes is highly recommended for families looking for an off-the-beaten-path take on growing up. The body horror elements are never too terrifying, and I think even younger viewers can pick up on the feminist messaging.

Just the Two of Us won’t win any points for originality (it seems that stories like this are the all the rage on streamers), but it works as a well-constructed drama that checks the boxes of what people watching it want — an intense tale of conflict with two hot people. In that regard, we can definitely count this as a success.

Those who may not care quite as much about the economic messaging underpinning the film may still find Dinklage careening through windows and getting seduced by hot graduate students worthy of the time investment. Still, there’s no denying that this could have been so much more.

In a perfect world, Philibert’s film will serve as a wake-up call for reconfiguring how we approach the treatment of mental illness on a global level.

What starts as a standard marriage drama becomes infused with dread and building tension. It’s never easy to pinpoint the root cause, though it goes well beyond the usual verbal conflicts one sees in standard dramas. As the story progresses toward its tempestuous conclusion, one gets Bergman-esque vibes mixed with modern sensibilities. It’s truly a singular experience.

Kids will get a kick out of it (provided they’re old enough to read subtitles), and adults (parents, especially) will embrace the detail that goes into portraying the complexities of parenthood that are often glossed over by many.

The film’s most tremendous success is its willingness to address difficult questions about Switzerland’s past.

Monster stands as middle-tier Kore-eda. It’s a touching tale about childhood and emotional development in a relatively rigid society. Still, it’s never anything more, nor does it push the boundaries of what we should expect from the seasoned filmmaker.

It’s not often that we get such a fresh and intimate story of love and revenge.

Filled with affecting intimacy and some of the best (and essential) sex scenes in recent memory, Passages is one of Sachs’ absolute best films and further solidifies the exemplary status of the three lead performers—an essential 2023 film.

It’s refreshing to see a sex comedy that recognizes that it’s really not all that simple for all of us.

Prison films are an underrated genre, and Pino’s film is a more than worthy addition to the great family of films that take place behind bars.

This is a hidden gem, one that we shouldn’t sleep on.

As much as I find Eckhart and Dobrev to be a fun duo surprisingly well-suited for a movie like this, Harlin’s action opus is just begging for a rewrite and a jolt of originality.

The conclusion of Astrakan is a riveting, almost revelatory experience that is vastly different from anything seen prior. It may be hard to digest for some, but it adds additional layers to the motion picture and colors the events in a completely new light.

Remembering Every Night is an ethereal experience that shouldn’t be missed. It reminds viewers that cinema is a visual art first and foremost and that the composition of the frame and movements within it often speak much louder than words ever can.

Trying to do too much in the span of ninety minutes is an insurmountable impediment to the success of Shadow Island. Still, even so, there’s a period of 30 minutes in the film that really gels together.

There’s no doubt that Scrapper is a gem, and it features two of the most impressive debuts of the year in filmmaker Charlotte Regan and her star Lola Campbell.

The heart of Return to Dust is centered on the married couple’s efforts to construct a new home by hand. It’s grueling work, but through Li’s stunning visuals and mastery of pacing, we become engrossed by the details not only of the labor but by their burgeoning love.

This is an inspiring and emotional watch with one’s mom, and there’s nothing wrong with that.

Ultimately, those hungry for a film that prioritizes a great performance over cheap thrills will not be disappointed.

The framing, editing, and overall rhythm of the story brim with intelligence. When coupled with a star-making performance from McEwen, we have what should be a new LGBTQIA+ classic drama.

For those following the career trajectory of Pietro Marcello, the feature works as another example of a nuanced filmmaker delivering a surprisingly different kind of cinematic experience. At its core, this is a memorable portrait of a father-daughter relationship and the power of dreams above all.

I’m not sure where Schrader’s career will take him after Master Gardener, but here’s hoping the next decade is as impressive as the current one.