Through Wang’s intimate and gifted storytelling, and her filmmaking abilities, she offers a lens of understanding to the delicate nature of life and death, especially for the frontline men and women who were tackling this faceless and mysterious illness changing life as we know it.

Through a bracing pastiche of methods, we are taken on a harrowing journey that must have A-list directors, this very minute clamoring for option rights. It is beautiful and gripping; Flee is a must-see.

When you turn on Cryptozoo, you’re in for something that’s unlike anything else you’ve seen before. It is the most interesting and singular animated movie I’ve seen in years.

Thompson pulled off an extraordinary feat. He introduced a whole new audience to a very impressive cultural event that could have been entirely forgotten. He also reminds us of where and what conditions we all came from as a country and where we’re headed now.

Heder infuses the characters and plot with such deep emotion it makes up for its lack of narrative originality.

Welsh director Prano Bailey-Bond’s feature debut, Censor, is one of those horror movies that sticks with you well after the credits roll. That’s because it doesn’t follow the typical horror movie formula.

Both Wu Ke-xi and Kai Ko were phenomenal in their performances and Midi Z has probably in Mandalay his best work so far.

While it could have easily been a dark comedy, and almost is, instead, it’s perfectly sincere.

David Perrault’s Savage State opts for Jacques Audiard’s contemplative mood but fails to balance it out with fleshed-out heroes, a sense of humor, or even a coherent point. What we’re left with is the novelty of a well-worn genre seen through a very French, existential prism; it’s all jaw-droppingly beautiful and sleep-inducingly dull.

The Reunited States is an essential documentary for anyone who’s frustrated with the state of politics today, not only in Washington but at home.

This mindful story, along with the wonderfully goofy script, over-the-top directing, and pitch-perfect acting, all meld for one manic ride worth getting on.

For its searing look at mental deterioration in solitary confinement and ingrained racism in the prison system, Caged is an absolute must-watch, minor flaws and all.

Haymaker has a little something for everyone, and it’s totally worth the watch. I’m excited to see what Nick Sasso does next.

Coming Clean is an indictment of capitalism run rampant, and, once again, profit taking precedence over human life. Hats off to the frontline warriors taking on this cause.

Say what you will about Cactus Jack, but the fact that it’s extraordinarily unsettling cannot be denied. If you find yourself relating to any second of its purposefully hateful narrative, you may want to immediately call your local psychiatrist.

As much as I thought the film’s heist element was unnecessary, which it is, Liman sure knows how to make it exciting and even in a pandemic. Locked Down could have been a much worse movie, but ultimately it’s a love story and a good one too.

The movie is well-written by Garrel, Carriere, and Langmann. Cinematographer Renato Berta makes the atmosphere in all of its beautiful simplicity. The acting is fantastic.

I think its quirky charm and sense of humor will turn off a lot of people, but if you’re into the weird and unusual you might want to give Dead Pigs a look. It’s far from great, but it’s an entertaining and pleasant enough watch.

The notion of exploring how a young boy views the world through his manipulative older sibling’s eyes – and how poverty affects that developing worldview – is not a bad one. It’s just delivered haphazardly. I applaud McAulay’s efforts, but Don’t Tell a Soul is at its best when it’s simply having fun as a silly B-flick. Shut your brain off, enjoy – and, like with any guilty pleasure, don’t tell a soul you liked it.

Wolfe's movie functions as an ode to Black culture, Black music, Black art; as a scathing treatise on the obstacles Black people have had to overcome (and are still overcoming) to be seen and heard and respected; as a celebration of jazz; as a showcase for two stellar performances and a majestic farewell to one of our greatest young actors.

The reason that Once Upon A Time In Venezuela is so effective is that it explores a microcosm of the events.

Radu Ciorniciuc’s Acasa, My Home, is a heart-rending documentary with investigative undertones.

Despite minor hang-ups, Blizzard of Souls is a great war movie with a story that needs to be shared.

We could all use a good pick-me-up, and Rock Camp: The Movie fulfills that role. If you’ve ever played an instrument, be in a band, been to a concert, or you’re just an avid rock’n’roll fan, you’ll escape into the fantasy and have some well-deserved fun.

Monster Hunter is red meat to any cynical moviegoer of the modern age looking for exhibit A. It’s been commodified and globalized to the point of nonidentity.

The film never takes itself too seriously, considering there are some serious actors in it. In the end, it’s all good fun and a great movie to turn on when you want to hand out with friends and see something truly insane.

There’s no denying the filmmaking mastery on display, but perhaps Min-ho could make his future history lessons a little more approachable.

The Truffle Hunters is about sustaining tradition in a world that seems to (d)evolve too fast. It's about mortality, but it's never morbid. It's about fungi, but it's never dull. It takes you away from the hustle and bustle of the contemporary, social-media-driven society and plunges you into the woodsy stillness of Northern Italy. You don't have to love truffles to crave a little bit of that beautiful solitude.

It’s an old-fashioned escapade with a helplessly likable hero—a criminal who can’t help but be better at the former than the latter, despite his best efforts.

Respectable in both intentions and execution, this is the kind of film that sneaks up on you and leaves a lasting impression. Like our man himself, it shouldn’t be overlooked.

In the end, there is no denying An Elephant in the Room is a very earnest project and it is the kind of documentary that has a subject so strong and primordial to its existence that “appearances and effects” might bear little consequences to its overall appreciation.

Breaking Surface boasts a verisimilitude lacking in its glossier Hollywood counterparts. Hedén doesn’t resort to gimmicks like sharks (ahem, except for that dog), rightfully trusting that Nature’s elements present a formidable enough foe to his two strong female leads.

Disco is about how toxicity seeps into everything from masculinity to religion to parenting and, yes, even dancing. It’s as beautiful and heartbreaking as watching a dancer pirouette into an abyss.

Franchi brilliantly tells this tale of a young man coming into his own with blunt honesty.

In the end, my question is whether Never Rarely Sometimes Always is meant to be just a story or offer something political to say in the great abortion debate. I’m certain the film exists to highlight the stories of young women forced to travel across state lines for abortions. Either way, there’s not enough of either to make it a compelling movie in the end.

The Racer will attract fans of cycling and those who enjoy a good drama, as it’s a fresh take on the sports drama formula.

Just as a movie skewed toward kids will bore adults, Soul will bore children, and it did mine. I love jazz, but I don’t think my child will add it to her Spotify playlist. In the end, Soul told a good, insightful story but was too much of a departure from the norm.

Wonder Woman is not a horrible film and gets a very mediocre good from me. I liked it for what it is, but the expectation of something bigger and better was not met, and honestly, what I prefer in big-budget movies. I think this will be the general reaction to the film, and this is probably why, especially if you were expecting something as spectacular as the first Wonder Woman.

It comes as no surprise that Rasmussen worked on productions like Lars von Trier’s Melancholia, a clear visual and stylistic inspiration for Ghabe. Coupled with Ehsan Kalantarpour and Ida Sundqvist’s otherworldly score, Castro and his team intermittently achieve a transcendent effect.

A soulful soliloquy about the fragility of memory and starting over, Brian Cavallaro’s 32 Weeks sails along smoothly until a storm of an ending sends it sinking into melodramatic—and oddly gruesome— depths.

Udo Flohr’s Effigy – Poison and the City is a fantastic film to watch if you’re a fan of period dramas. The leads give terrific performances, and the setting is visually beautiful for history buffs.

This updated version of Black Beauty is well-done and touches upon some important points about being connected to animals, nature, and learning to care for others.

The filmmakers have crafted an urgent watch that demands to be seen.

The script, written by David McKenna, is extremely impactful, as are the performances.

Overall, the movie’s performances are good, not great, but enjoyable nonetheless.

Every moment of the film is emotionally enthralling, perfectly bittersweet, and calculatedly daring, leading viewers down a beautiful path of hope and love that should award Happiest Season the success that it deserves.

What makes I Am Woman worth watching (and recommending) is the importance of Helen Reddy’s story, predictable as it is.

The actress playing Jade, Vicky Knight is a burn victim herself. It lends a realism to the movie that makes it by turns heartbreaking and inspiring.

Run is that rare beast that tells you in the trailer exactly what’s going to happen and still manages to surprise and shock you.

Overall, I think this documentary is perfect, even if it is a bit of Christmas propaganda.

The conclusion is not completely earned by the end credits, but Minor Premise‘s aspirations are far greater than movies with much larger budgets and star power.

Antarctica is a rare gem that stands as one of this year’s best.

The 7 rating is for his movie. Vance himself, in his preachy, condescending book, gets it wrong.

Mikkelsen is at his best, but all the actors convey a range of emotions masterfully and share real chemistry. Add in Vinterberg’s careful direction of the wry screenplay he wrote alongside Tobias Lindholm, and you have a great dramatic comedy.

The real torpedo that sank this ship was that the source material wasn’t all that good, to begin with.

Unfortunately, due to its limited premise, The Mole Agent never goes beyond showing the problem of loneliness. There no solutions, even if viewers like me interpreted some from watching the film. Nevertheless, through a unique premise and an engrossing style, The Mole Agent shines a light on a part of our society that we don’t talk or think about enough.

A kaleidoscopic look at a marginalized community, Queer Japan is required viewing for anyone in the community as well as their allies.

I’ve Got Issues brings to mind the zaniness of Quentin Dupieux, with a dash of Todd Solondz’s existentialism and the off-kilter freestyle nature of David Cross and Bob Odenkirk’s stuff. If you find one of the bits redundant, its brevity ensures another one is coming right up.

It’s probably one of the best nostalgia documentaries to come out in years. It’s all feel-good and good-feels from start to finish and a surprise here and there.

I’m being overly harsh with Climate of the Hunter because it was frustrating to watch. I had to work hard to follow the story and figure out what was really happening between the characters and I find myself replaying various scenes to see what I missed.

Mehta skillfully navigates both the tender sequences and the more devastating ones. Aided by Howard Shore's rousing musical score, she portrays a beautiful country ripped apart by social violence. Her film serves as an ode to those who either died or were forced into exile for having the courage to express their true identities.

Blood from Stone is a brazenly vicious, jolting, and oddly perceptive vampire thriller that alternates between genres.

Panek doesn’t sugarcoat anything in his beautifully-shot, grim tale, but ultimately, it’s his belief in human kindness that prevails. There may not be any lycanthropes in Werewolf, but they’d most likely seem like puppies next to the true evil he depicts.

Wander Darkly is a hard watch that is worth it, as the movie will pull a few tears from your eyes at the end.

At 75 minutes, Ottolenghi and the Cakes of Versailles goes down easily but lacks a distinctive flavor.

In a parallel dimension, perhaps, most movies are this well-made. Watch Parallel, and then watch it again to untangle all of its little nuances.

Yalda, a Night for Forgiveness, might start softly, leaving viewers unsure what it is, but very quickly, it becomes fascinating and engaging akin to watching a game where we have to discern the truth. It is actually strange, though quite disturbing in hindsight, to think of it this way, considering real events inspire the story.

As it stands, it’s not much of an indictment. As honorable as her intentions may be, Bibeau ends up blowing the whistle so incessantly, it sort of leaves you deaf.

Archenemy is an absolute must-watch.

Noemí Gold is a smart and tenderhearted film from an astounding creative team that appreciates the humanity that can come alive through drama.

What does come as a surprise, somewhat, is Fincher’s departure from his clinical precision; he adopts a looser approach here, no less precise, but much warmer than, say, the steel-blue, fierce indictment that is The Social Network. “Photographed in Hi-Dynamic Range” to approximate the look and feel of a late-1930’s feature, Mank is incredibly dense, lush, and extravagant.

Delgado’s script is keenly aware of the world she is sharing. With the utmost humanity, each frame conveys the lives of those living in limbo, working for the mere hope of something better.

While the more dramatic side of The Planters does not totally gel, when the movie works, it is a slice of delightfully idiosyncratic comedic genius. The cast is terrific, the screenplay is amusing, and the whole affair is immensely rewatchable.

Polsky packs a lot into the film’s slim 80-minute running time. It’s dense but never overwhelming, presenting facts and anecdotes in a coherent, intuitive, supremely entertaining fashion.

The movie is set up to pull the heartstrings, and it’s very effective at doing so. You care for the characters and what happens to them, and you leave the film wanting to know more.

It’s jolly, childlike in a good way, and unusual where it counts. It’s a pop-up book that should be prominently displayed and never read.

Despite being overall quite enjoyable, it feels very rushed in places, especially towards the end, and it fails to cap off Midway’s epic rise and fall as it deserves.

It’s all deeply unsettling, a glorious massacre you can’t look away from. Kill It and Leave This Town dares you to avert its gaze. You may not be able to describe it, but good luck forgetting it.

Doin’ My Drugs is an informative and inspiring documentary about a man and his guitar trying the change an entire nation, one person at a time.

Survival Skills has so much going for it, one may feel tempted to go along for the ride, bumps and all.

There are worse ways to pass 90 minutes for those willing to disregard the film’s numerous, glaring flaws. Call it a Chinese Mission Impossible, minus Ethan Hunt’s budget and brains.

Perhaps Landon could step away from mixing slasher horror with classic comedies and create his own thing. Or maybe this is his thing. In which case, I look forward to The Breakfast Club on Elm Street, especially if it stars Vince Vaughn.

The chemistry between McCarthy and Cannavale is great. I could see an entire, more traditional rom-com starring the two of them.

Team Marco is a pleasant surprise in a world that can be quite cruel to comedies. I am genuinely impressed with the passionate acting, the compelling story, and the deep, moving metaphors. This film is sure to please everyone who watches.

The movie wants to put all of the theories to rest, and it may have answered some of the questions, but I do not believe that it will change the mind of a conspiracy theorist.

A hope for pleasure is almost as enjoyable as the pleasure itself,” a character quotes Shakespeare at one point. I didn’t derive any pleasure in hoping for pleasure while watching Esau – and man, did I hope.

All Joking Aside gives us but a glimpse of the pain behind the smiles, but like an evening at a comedy club, leaves us with a good-natured grin.

Try as I might, I can’t quite shake nor stop thinking about The Giant, and that makes me believe Raboy’s done something very, very right, here – even if you might have to squint a bit to see it.

It might be easy to write off Dating Amber as yet another “coming out” film, but what it ultimately is is just plain ol’ good storytelling.

It’s a pastiche of all the good anthologies we had back in the day, such as Tales From The Crypt, Creep Show, and more. It’s a perfect Halloween watch.

Apart from the two leads, there’s little warmth or humanity to be found here, the film purposefully cold and distancing, much easier to admire than to love. That said, there’s plenty to admire in this sad, contemplative journey into the heart of darkness.

Come Away is just a heart-rending, joyful, and gorgeous movie that everyone should take their kids to go see.

Friedkin gives us a master class on the creative process of film and a set of expertly told war stories that thrill and inform. It just doesn’t get better than this.