William Bibbiani

Call Me By Your Name is a romanticized coming of age film, for better and worse. It’s a lovely place to visit but not particularly absorbing as a narrative, even though Armie Hammer gives an impressive performance.

Saoirse Ronan gives a standout, brilliant performance and so does Laurie Metcalf as her long-suffering, big-hearted mother. It’s a remarkable solo directorial debut from Greta Gerwig.

With striking scares, moody atmosphere, and impressive performances, You Are Not My Mother gradually reveals itself to be a wicked, wicked work of horror, with perhaps only a few unanswered questions holding it back from true greatness.

Gorgeous and unpredictable, and maybe a little indulgent, Phantom Thread is another fascinating drama from Paul Thomas Anderson, with captivating lead performances by Daniel Day-Lewis and Vicky Krieps.

Shallow self-congratulation for American moxie at the expense of everyone and everything around us.

So let me be absolutely, 100% clear: “The Alto Knights” is indeed a bad movie, but not the good kind. It doesn’t make you feel alive, it makes you feel dead. It’s a tedious, directionless, bumbling chore of a gangster picture, incoherently written and edited, featuring two of the limpest performances of Robert De Niro’s career.

So emotionally, dramatically, philosophically complex that it’s tempting to put on professorial airs and focus entirely on its depth. But it is also, just as importantly, electrifying to watch.

The target demographic for Lorne is SNL fans who won’t benefit from a documentary like Lorne.

If logic had anything to do with it, that would mean 'Thrash' was a bad movie. But logic has no place in these soggy halls. 'Thrash' may be arbitrary but it’s too energetic to be bad.

Hereditary is one of the scariest movies around, and a spectacular showcase for actors Toni Collette and Alex Wolff. The film’s subtle shocks and realistic drama combine to create a dreamlike atmosphere, drenched in psychological horror, which builds and builds to a climax that you won’t forget anytime soon.

It’s incredibly thrilling to watch, impressively emotional throughout, and easily the best Spider-Man movie since “Spider-Man 2.”

Even the quietest moments of 'Flow' are tainted by existential threat. It’s suspenseful and pensive and painful in a way few films strive for, and fewer still achieve.

It’s a triumph of maximalist filmmaking, using in-your-face techniques to craft a gigantically intimate story. A wonder to behold, a shock to the senses, a thrill to one and all.

It reaches inside your imagination and stirs it around, making new connections between familiar concepts. It’s not just great, it’s fascinating and revelatory.

Steve Bognar and Julia Reichert have produced in “American Factory” an invaluable snapshot of a moment where history is repeating itself, and trying to write a new, possibly dystopian ending. But it’s also a film full of beautiful human beings, trying desperately to make good for themselves and their families regardless of their nationality and culture.

The drama is muddled, the action is murky, and the storyline can’t help but get goofier and goofier until, by the end, every attempt this movie makes to ground the “G.I. Joe” series gets blown up. It’s hardly the worst film the “G.I. Joe” series has delivered, but it’s certainly the least interesting.

I cried, dear reader. I cried so much. Not just because the story and characters were wonderful, but out of the joy of discovery.

All the inspirational, kitschy parts of your favorite nostalgic fare in a mature, sensitive motion picture with indie credibility. Sure, it’s cheap, but it wears its cheapness like a badge of honor. If this is the future of cinema, I say bring it on.

Mudbound is a daring approach to a classical narrative, a film that tries to look from multiple perspectives at an intimate human drama that has far-reaching ramifications. Its imperfections are debatable, and fairly minor. It is the work of a bold storyteller working at the top of her game.

Kinky as hell and also extremely romantic. That’s not a combo a lot of movies go for nowadays, let alone pull off this beautifully, and that makes Pillion something of a miracle.

Human weakness is 'Black Bag’s' greatest strength. It’s an insidiously great spy movie, mature and satisfying.

It’s an exciting picture, a smart picture, a fascinating picture, and a wonderfully weird picture.

It’s a sweaty, intoxicating, all-nighter of a movie, and its allure cannot be denied.

Fire of Love is a wholly satisfying, overwhelming documentary, as disarming as it is explosive.

This is a film about pain, and it forces the audience to live in and work through that pain. And it’s absolutely worth the effort. By the end it’s a transformative experience.

Widows is so severe and reserved a picture that it never quite works as a thriller, but it’s so mired in conventional thriller storytelling that it never completely works as a serious drama either. But there’s no denying the power of that cast and the particular vision of McQueen, who turns Widows into something truly distinctive… if not necessarily effective.

The Rescue is an enthralling documentary, with a real-life story so spectacular you can hardly believe it. That’s why the film’s overwhelming polish sometimes undermines the real-life story it’s trying to tell.

A mesmerizing study anchored by three incredible leads, each working at the height of their craft. The material is rife for exploration, rich with nuance and discoveries. And the ending packs a wallop.