Directors Cristina Costantini and Kareem Tabsch have created a heartwarming testament to a man whose singular message was one of love and inclusion.

Newnham and LeBrecht weave a narrative from multiple archival sources that capture the innocence, the subtle awakening, and ultimate determination of a small group of disenfranchised who suddenly realized that there was something to fight for.

What She Said: The Art of Pauline Kael is a wonderful visitation of the famed critic’s life. It’s also a great place to start if you know nothing about her.

What stands out about When Lambs Become Lions is its remarkable intimacy.

Quezon’s Game adds something that is missed in war films as well as history books.

Director Billy McMillin does a great job showing the true stories of these teams, and from where I grew up, these stories are very relatable.

Kill Ben Lyk manages to be entertaining and inconsequential in equal measures. Give it a shot.

Speed of Life reminds us that the art of our idols, the fire, and the passion, survive the artist and that their immortality is you keeping that fire burning.

Check out VHYES if you want to see the most original film to come out in ages.

Caught between worlds, Disturbing the Peace isn’t as fun as it begs to be or as eloquent as it’s trying to be.

Bad Boys for Life is a fun and competent action comedy with most of all the things people loved about the previous two films. It succeeds in that regard, but it does not successfully succeed in pushing the franchise forward and passing the torch to newer and fresher talent.

As hard as it is to grasp where the story intends to go, it’s just as easy to realize that it had no other choice but to fall into standard crime thriller tropes.

The biggest problem with the movie is that it fails to explain the complicated theories and formulas in a way that makes sense.

Perrier is an undeniable talent and as a first outing, Jezebel is a powerful statement.

The perfect mix of thrilling action, compelling storytelling, memorable characters, comedic moments — and all of that works in tandem like an orchestra bellowing an epic score. Infinity War leaves audiences wanting more… and with a lot to think about.

It’s insulting to think that children will see a movie solely because you have animals that talk and act silly.

What I love most about Little Women is how Gerwig’s script refuses to turn each character into a stereotype of their time. There is a complexity to each character and a real arc for each.

In the end, while I did struggle to follow its central narrative, Bi Gan has my admiration as a filmmaker, though I was hoping it would be a little more profound as it was artful in the end. He connects with you from an emotional standpoint

You’re going to watch Ford v Ferrari for the action, underdog story, and more-than-competent cast. Mangold also has the tone and pace of the film down perfectly. I would watch Ford v Ferrari over and over again.

Shinkai’s animated feature may sometimes seem like it was dreamt up by a 15-year-old teenager. It may move at a leisurely, awkward pace that threatens to come to a dead halt at points. Yet when it takes flight, it soars.

Khalil and Sweitzer’s film is unique, but it remains unclear if it has the power and resonance behind it to take their points outside of the arthouse audience.

Stewart commands the screen in a fierce performance, effortlessly elevating the material with a few poignant glances and teeth-clenched determination.

As unoriginal and awkward as Like a Boss is, Byrne and Haddish do everything in their power to elevate the mundane script to something worth viewing.

The film is an important one, but above all, it is an exceptionally pleasing and easy one to watch despite its density. This is partly due to Bartosz’s fantastic performance showing great acting range by going through a whole spectrum of emotions very convincingly and subtly.

Thanks to a committed cast and an amusing screenplay that works more often than not. Reality Queen! proves to be a charming affair. Mix in the surprising amount of depth mined from the brilliant ending, and despite its issues, this mockumentary proves worth a watch.

Inherit The Viper had the potential to be an exciting thriller with dramatic family elements. Instead, its characters fall flat as if the actors were not allowed or unwilling to flesh out their characters more.

Aside from a decent cast trapped in a shoddy everything else, there is nothing to recommend here.

Atlantics can be seen as telling a haunting, tragic story. Despite its ethereal style, and a semblance of magical-realism, it is mostly grounded in the drama of reality.

Ip Man 4: The Finale is a thrilling end to the Ip Man saga. The action is fast-paced, and the fighting is poetic. The story not only brings a modern twist to the legend but is just as relevant today as it was in the 70s.

I wholeheartedly recommend this film as a glimpse into the effects of war on female soldiers, and also as an opportunity to see WWII from a perspective that isn’t American. It has some devastating scenes, which makes sense considering the subject matter, but it also has a faint glimpse of hope that makes the film all the more worth watching.

Boasting an astounding cast — Nicolas Cage, Laurence Fishburne, Barry Pepper, Adam Goldberg, Leslie Bibb, and Clifton Collins Jr. — it’s even more disheartening that Running with the Devil is a garbled crime expedition that never follows through on its various subplots.

While director Alison Reid tries to be a bit more engaging than a simple talking-head documentary, with varying success, the movie has earnestness and heart. So, even with its issues, it is still a solid good time.

For a while, the film’s elegant art-horror vibe is quite compelling, leaving the ancient secret societies and demonic entities that it hints at tantalizingly off-screen and just out of Rose’s grasp. Unfortunately, though, the film begins to stumble late in its second act, its well set-up mystery devolving into a contrived sort of video-game logic.

Gracefully directed by Fried Green Tomatoes and Justified director Jon Avnet, Three Christs is a great dark comedy about a dark subject. I can’t say enough how great the performances are. It’s a relevant character study on those who suffer from mental illness and the ones who treat it and why they do.

When you get old and crotchety, you say things like, “They don’t make ’em like that anymore.” For the most part, “they” don’t. Then you see VFW and realize it’s not a nostalgia thing. It’s genuinely not done this way anymore. Thank you Joe Begos for reminding us how it should be.

Nothing here is left to the imagination, Pesce running down the list of clichés and ensuring he includes every single one. Once the realization that this is yet another cheap-o retread settles in (about 10 minutes in), the rest becomes agonizingly painful to sit through.

Hell On The Border tells a unique western-style story.

The directorial choices, from the minimal use of music for dramatic embellishment to the innovative split-screen technique used to blur the identities of individuals in courthouse footage, are spot-on throughout.

Stevenson’s story is engaging as the David versus the Goliath of the state’s district attorney. There are a lot of great actors on display and put together it feels like an A-List repertory company featuring Michael B. Jordan, Brie Larson, and Jamie Fox, to name a few. Then add some outstanding supporting veteran and up-and-coming actors, Just Mercy becomes a solid drama and film.

The movie, like the play, is a series of delightful songs strung together by a thin, loose thread of a plot, which lends a little credence to all the criticism and mockery online. But once you know this and have been warned by the trailer, what you’re in for is a remarkably fun time at the movies.

This is war as a First Person Shooter, and it’s incredibly effective at putting the viewer in the moment.

Scenes involving Anne Hathaway in particular land with a painful thud. In an attempt to flesh out the “adoring, supporting wife” role, Haynes shoots himself in the foot, bringing much attention to an underdeveloped character, who, despite all the pseudo-feminist speeches, amounts to, yes, the “adoring, supporting wife.”

I’ll take a bold if misshapen curiosity such as this over safe Hollywood fare any day.

Call this “Film meh” instead of Film Noir. The only way it could be more pretentious is if it was in black and white. These characters are so unlikeable, you may find yourself hoping Margaret and Henry both get the shit kicked out of them for their arrogance and stupidity.

Corbjin avoids delving into Gahan’s dark history (enough docs have done that). Instead, he has created an affecting, at times exhilarating tribute to the band, and to exorcising one’s demons through art… be it by making it or discovering it.

Jumanji: The Next Level is a fast-paced thrill ride, and fans of the original will not be dissatisfied. The writing is just as smart as the first, and the main cast revives its original magic.

It’s impressive that Bombshell is able to discuss all the issues at hand all at once.

Whatever bias you may have about Sandler’s comedies fade away here. Sandler gives a genuine and physically brutal performance of a man who’s trying to stay one step ahead of total collapse.

In a brave move, bound to startle viewers used to conventional structures, Shults shifts gears, subtly layering shades of complexity without ever weighing the film down.

Aside from Hank’s brilliant performance as Fred Rogers, I also liked the style of storytelling. The movie from start to finish feels like an actual Mr. Rogers episode with its simple three-man jazz piano score and its slow, deliberate pace. The overall story is good, sweet, but predictable.

Despite its supposedly uplifting concept, the film ends up being somewhat of a melancholic downer, hammering home the point that the whole notion of the American Dream is ludicrous.

Anya is a less than perfect film, but attempts to answer a few intriguing questions, making it worth watching.

If being dull is the cardinal sin of the movies, as Capra supposedly said, then Sorrentino is a saint. There’s not a dull moment in Loro, whether it’s the hypersexual, reality-bending party scenes or the quiet backroom conversations where the truth comes at the characters so unexpectedly, they don’t have time to prepare their usual defenses. All of it is visceral pleasure at an eye-bleeding volume.

Sequestrada is a beautiful film showing off the elegance of the Amazon river and the simplicity of the indigenous villages. The drama is shot with handheld cameras giving off a fly-on-the-wall documentary style of filmmaking. The acting isn’t that great but oddly feels authentic.

The Body Remembers When the World Broke Open is a genuine social realist film and the fact that it is shot in real-time only heightens the sense of reality. Everything is authentic.

Light From Light does not totally stick the landing, as it stays small when it should have finally gone big. But the characters are well thought out and relatable, the cinematography is excellent, and the conversations between Shelia and Richard have resonance. This is all brought to life by an amazing cast, who absolutely deserve awards for their heartrendingly honest and raw performances.

What you get out of Frozen II over the original is Anna and Elsa’s stronger relationship. They are together throughout most of the film, and their sisterhood is strong, fun to watch, and remains the heart of the film. Frozen II is a worthy sequel, and you’ll be glad Disney got greedy and made it.

It has to be said that the best thing about The Report is Adam Driver and Annette Benning.

Eastwood once again takes a sharp stab at America’s penchant for attacking first, asking questions later.

Mr. Toilet: The World’s # 2 Man is an informative and fun documentary. I know that it sounds like an odd choice of words, given its subject matter, but it really is something special.

The mafia murder images are stomach turning, viewers take note. Letizia talks about her life at great length and some of it is redundant, but she is always charming and inspirational, living as a strong, independent woman in a crushing patriarchy.

The two actors are bound to be showered with awards, as is the production design, the polished script, etc. But there’s no intrigue, no real substance beneath all the gloss.

At barely over an hour, Deerskin packs quite a punch, and is bound to get under your skin.

Malick’s masterpiece makes a great argument that it’s the little-known heroes, as opposed to the ones we trumpet as such, that truly form the ethical foundation upon which our society still creakily rests. Malick is a true cinematic maestro, conducting the orchestra of life. A Hidden Life is breathtaking in every aspect.

Don’t come in expecting high-stakes melodrama, soul-twisting resolutions, or fiery exchanges. This is one of those meditative films about a fragment of life, wherein we find distinct familiarities. It demands that we slow down and appreciate its leisurely pace, its elegiac/humorous tone – and primarily, its lead performance.

Up to the final scene, the film seems to just barely miss the mark in the place where it could have thrived. The ending is somewhat puzzling with the assumption that the audience would make a connection to what happens with David, but instead, it just left questions.

What really buoys the feature is the acting from its two leads, whose chemistry absolutely sparks.

There’s a lot of silliness that will warm the hearts of Rom-Com fans. The silliness at least is high brow with Paul Feig at the helm and Emma Thompson part of the writing team.

Sabatella makes these characters so viscerally real you can’t help but identify and agree with all sides of the argument.

Lying and Stealing comes across as the object a thief would replace an art piece to prevent anyone from realizing it’s missing at first glance.

It is quite a frothy mix of childish innocence and magical realism. It’s just nothing of major consequence.

Key, Leguizamo, Greer, and Haysbert actually look like their having a good time and investing their acting talent in this silly story without flinching. No one’s phoning it in. John Cena is just a little too cartoony in his straight-laced character and somehow manages to make “normal” feel over-the-top.

In addition to the excellent acting and well-written characters, Doctor Sleep is a delightful visual trip through a hellish winter wonderland.

Lee’s film never escapes its B-movie roots, nor does it try to, embracing its own pompousness.

Her responses and her journey, set alongside her own art, give a unique perspective on that meditation as well as to the crucial importance of art to document our time, to share experiences, and to enhance the quality of life.

It’s all been-there, done-that stuff, diluted further by forgettable characters, plot holes, and a desire by the studio to “get back on track” that transcends earnestness and becomes borderline-insufferable.

There is genuinely fantastic chemistry between the new lovers.

I haven’t seen a crime thriller this good since L.A. Confidential.

Director May El-Toukhy paints an engaging, uncompromising film in bold strokes, never looking away or shrinking from Anne’s boldness to act on her desires, or her willingness to remorselessly do whatever she must to restore the status quo of her life.

The director’s cut of The Current War moves at a faster pace than the original, the characters are better fleshed out, and the drama is more focused where it needs to be. The new cut has elevated the film from mediocre to interesting.

I still can’t believe this is Wolff’s first film as writer and director. He shows an excellent command of storytelling. There’s a lot of backstory and very little exposition (which can be a first-time filmmaker trap). His dialogue is natural and authentic to the age of its characters, and the way eventual conflicts between the friends play out feels unforced.

Its portrayal of Britt-Marie sometimes feels condescending, several of its plot turns make no sense, and its visuals add nothing that wasn’t already there in the original book.

Mrs. Lowry and Son has an appealing old-school charm and two performances that make it worth seeing.

A cautionary tale, a story of salvation, sad, lyrical, funny and even brutal at times, Bloody Marie is a shot of adrenaline in a landscape filled with cinematic clones. It may not be perfect, or for everyone, but it sure is spicy as hell, and it gets most of the ingredients just right.

Paradise Hills has pacing issues, and a made-for-TV feel it can’t quite escape. A firmer grasp of tone would’ve benefited the narrative. Yet its creators’ boundless imagination carries it through the rougher patches.

The documentary may make you angry at times (or throughout), but that’s actually a good thing.

Girl On The Third Floor has enough carnage and bloodshed to satisfy all gorehounds. Director Travis Stevens gets terrific performances from an excellent cast, and the atmosphere is consistently foreboding.

All of this is goodwill, and food for thought is squandered with the third chapter follows Orin. Without getting into spoilers—He ruins the movie.

Putting it in the kindest possible terms, the movie could be passed off as an exercise in style. Because of this, it does manage to be watchable.

Corporate Animals tries to be a comedy about class struggle, hubris, cult of personality, and corporate culture using cannibalism as a metaphor. It is a fantastic idea that never gels into anything worth watching, and I suggest you miss it.

American Factory is an example of my favorite type of documentary. It’s one that merely documents. It has no agenda to push, even though one grows organically throughout.

There are visually stunning scenes throughout, but the acting and writing are the pièce de résistance of Sibyl and should be exactly why you put this film on your radar as one to watch from 2019. It’s certainly going on my end of year favorite list.

It is the kind of ensemble that deserves some kind of recognition as the casting department did a great job, and the chemistry was remarkable.

It’s definitely a well-crafted genre offering. The writing could be better, with more of an emphasis on the relationships than on the plot mechanisms, but the ending is cool. The cast is also very good, but again, if the script were just a tad bit better, the film would get a better rating from me.

For fans of Breaking Bad, it’s a satisfying return to and continuation of the story.

What makes it enjoyable is that it’s a relatively grounded action film…relatively.

Brian Presley wrote, directed, produced, and stars in The Great Alaskan Race, and his reverence for the dire situation and heroics of the mushers are evident throughout. However, passion alone does not make a good movie.

It’s thoroughly engrossing, entertaining, and a lot of fun from beginning to end.