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.

Slow pacing and blink-and-you’ll-miss-it details abound, placing the film in the tradition of foreign arthouse films.

The rise of anxiety is a serious problem with no real end in sight. Films like Anxious Nation are important for spreading the message. However, the only realistic way to change attitudes on mental health is to normalize seeking care and to make more people aware of the solutions.

It’s a challenge that may ultimately be gratifying for the right audience — just make sure you have a comfy chair.

There’s no shortage of entertaining moments in To Catch a Killer, but that won’t stop audiences from wanting more. Other than the performances from Woodley and Mendelsohn, there’s not a lot to grab onto, which would help distinguish this from countless other entries of this ilk.

Dark and uncomfortably funny, this work showcases a filmmaker acutely aware of the nuances of modern society.

Rare is the film that refuses to moralize the actions of its characters, and boy, does this make Acidman refreshing.

It’s impossible to escape the allusions to faith throughout the film. It may not be everyone’s bag, but Benson uses it in a relatively unobtrusive way that doesn’t seem like an exercise in proselytizing.

Instead of a taut coming-of-age drama, we seem to have gotten a surfing movie that happens to have a skeleton of a story.

It’s a mature story, and with maturity comes a subtlety that goes beyond exposition. But filmmakers must balance tones effectively, and Khan is unable to shake his film’s monotone nature.

It works as a powerful mediation on the optimism lost for a peacefully cosmopolitan Lebanon.

Maybe Banderas wanted to capitalize on the popularity of the Taken or John Wick franchises, which is entirely understandable. For a man used to covering a wide range of genres, the role of the older action star is one with a certain degree of cultural cache. The Enforcer, though, just isn’t the right vehicle.

The value of Petit Mal is in the performances and formal flourishes that disrupt the actors’ rhythm work against one’s overall enjoyment. Even so, there’s always a place for filmmakers willing to tell distinctive love stories, and one involving a lesbian throuple in Colombia certainly fits the bill.

This is essential viewing for anyone with a modicum of interest in WWII history. For the odd individuals that don’t have any interest, this is still well worth a watch because of the powerful character study at play.

Throughout Hadas Ben Aroya’s All Eyes Off Me, we’re privy to a level of intimacy not often seen.

Davis’ delusions of grandeur are definitely not bulletproof like some of his vests, but that doesn’t necessarily make this an essential watch.

It’s the rare work that confronts the uncomfortable truths of the world – namely that life is far from fair, and no individual can achieve success without the support of others who may not be dealt a great hand in life.

Guzzoni, at times, drowns the film in its messaging by not mixing it up, but we’re never bored. We can thank López’ performance for that and our creeping sense of alarm at the abuses that the less fortunate are forced to suffer through.

The drama is a mostly compelling watch, but we’re left wanting more from a film with such an impressive assemblage of individual pieces.

Occasionally fun and constantly deranged, it’s a film that could have been much more with a modicum of restraint. I gave the worms a shot, but I think I’ll stick to eating worms of the gummy variety.

The double-edged sword with Smile and its popularity means there may be a sell-by date after which many of the harrowing sequences become subsumed into popular culture and will no longer feel fresh upon initial viewing. This isn’t the film’s fault, but such is often the case when the public gets a hold of a work of art. See it with a crowd, and see it soon.

While Dead for a Dollar may not make one toss out their copy of The Searchers, it’s still a refreshing change of pace seeing three excellent actors in an uncommon genre. When it comes to its originality, though, we’re left watching the tumbleweeds float on by.

This is a poignant examination of the many forms of love. Even if one isn’t totally on board with the lifestyle at the center, it makes it hard not to wonder what that seemingly mild-mannered couple you know might be up to when the shades are drawn.

Couple the brilliant construction with the intense performances from Saboia and Fasanaro, and we have one of the more memorable foreign romance films in recent memory.

Adieu Godard is generally a blast. Cinephiles will love it because it should, without fail, bring to mind our own journeys into “challenging” cinema. Casual viewers not well-versed in the New Wave catalogue will still find plenty of enjoyment in the chaos that erupts as a result of the backlash against the film.

A promising debut from a new international voice.