This is definitely not your typical Cronenberg. No matter if you either love his cinematic oddities, or if you’re put off by them, watching A History of Violence would prove beneficial. It’s no doubt one of the best films of the year.

Please seek out The Human Voice as soon as you can. It is a short, shockingly beautiful exploration of the stages of abandonment.

You don’t see people like this or interactions like this in the movies unless they’re hopelessly overdone, to the point of drying out all the truth. Bloody Nose, Empty Pockets is a special movie for this reason and too many others that shouldn’t be read about but seen with your own eyes.

It’s not just one of the best documentaries I’ve ever seen, it’s one of the best movies I’ve ever seen. Period.

The film bottles beautifully the neo-noir lightning that flashes down under from time to time, with it’s thrilling presentation of a remote beach town that has gone seriously wrong. The rest of it is often mystifying, sometimes maybe just indecisive, but it soon makes you question what you see with some pretty witty plotting.

The Father is about the suffering of old age, the importance of connection, the sick encroaching of an affliction, and ultimately, death. It doesn’t sugarcoat things, despite its sugarcoated exterior. Like its French counterpart, Michael Haneke’s Amour, it’s not an easy watch, but it’s a necessary one, a film that examines the very essence of our humanity.

Offers a remarkable tribute to one of the few people who genuinely deserves to be known as a pioneer of filmmaking. In the genre of films about films, In the Mirror of Maya Deren is among the best.

One of the most effective, intelligent, mature and romantic love stories to come across the screen recently is, of all things, a documentary.

Skywalkers: A Love Story is riveting and engrossing. The cinematography is beautiful, capturing the wonder and danger of being so high. The editing is sublime.

Touch Me is worthy of the same regard as the great hard drug classics like Trainspotting and Requiem For A Dream. In fact, Touch Me is the new heroin beacon shining high on the arthouse hill.

On the Record has so many beautiful instances of artful storytelling.

Young Ahmed may be described as a coming-of-age story, a searing character study, a visceral tale of redemption, a critique of extremism and the society that seems oblivious to and/or helpless against such evil.

Equally charming and addicting all the way through.

Marvel has clearly saved the best for last and I cannot stress how much those fan service moments will have you cheering. I highly recommend that you see Endgame in a packed theater of fans so that you can experience the climactic ending with the energy of the crowd.

Has one seen productions with similar stories or themes to Road To Perth? Absolutely, though never one done in this style or with such elegance. The actors honestly stir up emotions, the scenery is outstanding, the characters are lovable, and the entire affair wraps up pitch perfectly.

Storywise, Campbell-Hughes ably plays audiences like a harp. The plot often lulls those watching into a false sense of complacency before upending the expected resolution. In this way, the filmmaker keeps the narrative fresh and unpredictable through the bitter end.

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.

Roh slowly builds to the cathartic release of scares genre aficionados crave. But, those watching will be invested thanks to the strong writing and characterizations, stunning score, and beautiful cinematography.

Twilight of Warriors is one of the best action films of 2024 and one of the best martial arts films in recent memory.

Pharma Bro is a swiftly paced, engaging, and exhaustive look into the scandals that put Martin Shkreli on the map and turned him into the “most hated man in America.”

Ronnie’s is bursting with vivacity and energy, and to weigh it down with staid interview footage would have been a fatal error stylistically.

Delicious is beautiful, entertaining, and achieves greatness by radicalizing eating out, from fine dining to going to the midnight burger drive-thru. Salut!

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.

This is high-octane fun that you would do well to check out in theaters.

The Three Musketeers – Part II: Milady is a sky-high bonfire for the planet to gather around and witness legend in motion.

Veni Vidi Vici is doing a lot, but the filmmakers make it all work. Their strict control of the comedy hits the perfect dark tone. The cast is tons of fun, while the writing is a sharp takedown of politics and power in modern-day Austria.

This is a perfect film for those who love the New Hollywood era and exhilarating crime flicks. Night of the Juggler is an entertaining rediscovery with a strong storyline and an amazing time capsule of New York during its worst days.

All Speilberg really did was take a masterpiece, keep it a masterpiece, and add a little flair (and backstory). He took gold and made prettier gold.

A true cinematic gem.

Esta Isla (This Island). is an excellent and absorbing drama. Its characters are well-written and behave in sensible and relatable ways. The cast excels at bringing authentic emotions and subtle details to the forefront, making everything as authentic as possible.

It’s pure horror movie fun. Yet the relationships consistently raise the stakes and elevate the film from the “creature feature” label to the kind of thriller that becomes a fan favorite.

Enola Holmes is an engaging, exciting mystery that the entire family will enjoy. The direction is spot on, the acting is brilliant, the plot is intriguing, and the cinematography is fantastic. But the ending is a letdown, not trusting audiences to be content with Enola’s arc.

The comedy and drama balance each other well, while the varying styles create a wholly unique work of art that perfectly captures the uncertainty of the beginnings of quarantine.

Rub comes out of nowhere and reinforces your belief in the magic of independent filmmaking.

All That Breathes is a powerful documentary with a message that needs to be felt down deep in the lungs.

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 Not A Story boasts stunning acting, fantastic music, a heartfelt plot, and impeccable directing.

The Changed is telling a story that has been told before. But, the writers have managed to create something compelling and different, thanks to the themes and excellent characterizations. Combine that with the stellar cast and fantastic ending, and you have a title to seek out as soon as possible.

The intense and fascinating vision and lens through which Guan Hu observes everything makes Black Dog unforgettable and haunting long after watching.

Kusijanovic’s feature-length debut is nothing short of revelatory. Murina is the perfect summer film. Beautiful scenery, nuanced performances, and canny filmmaking provide one of the most memorable coming-of-age stories of the 2020s so far.

The film is not just important but also entertaining to the core. Her first feature shows Innuksuk is already a master filmmaker who has made a kick-a*s genre picture with dead-on horror instincts.

At the risk of being hyperbolic, Good Luck, Have Fun, Don’t Die is a great movie. It offers laughs, thrills, and it’s a thinker; you will not be disappointed.

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.

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.

While the material is right out of one of Herzog’s indigenous rainforest epics, it is lit like an Italian horror movie, with candy colored Bava-like blues and reds sprucing up that bush.

The Old Ways is a masterpiece that shows how great horror will be done in the future: swiftly paced, engrossing and terrifying.

Boy Erased is a poignant family drama that explores the importance of unconditional love and acceptance of oneself and each other. Edgerton solidifies his triple-threat status, artfully and intelligently crafting a film that resonates with viewers and facilitates much-needed conversation during these trying times.

The American Fiction cast is brilliant.

With these performances and Thom Mills’s confident direction, Luderdale plants its flag firmly in gangster movie territory. For fans of mob films, this is an instant classic. It’s stylish, gritty, and ends with a bang that will leave you face down in your pasta bowl, begging for more.

It is informative and inspiring, with Sill’s spirit summoned for all to see. It is a great piece of lost classic rock history that so many will relish. It’s the kind of film that buries itself in your ribcage and keeps glowing for days afterward.

Bloody Hell is possibly the best combination of horror and comedy I’ve ever seen.

Yadang: The Snitch is a highly engaging and tightly constructed action-thriller.

With Candy Land, Swab has delivered a historic flashpoint in the darker side of the film universe. It is a supernova of seediness. The flick is the true bastion of this under-utilized subgenre.

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.

Exhuma is a masterpiece of art-horror and South Korean filmmaking, ensured to enthrall viewers into repeated viewings and deep dives into each chapter.

Most importantly, Introducing, Selma Blair is the story of a mother desperately trying to keep it together and be the best parents she can be to her son while dealing with a disease.

John Wick: Chapter 4 is the return to the greatness we associate with the franchise, particularly after the misstep that is Chapter 3. It is easily my favorite movie of 2023 so far and begs for repeat viewings.

This is not just another Beatles documentary. It is something in its own category. This is someone’s love story, a very beautiful one.

This phenomenal ensemble brilliantly and tactfully tells a story that our society desperately needs to hear during these trying times.

The twists and turns happen right on point to keep the lively meter cranked up to a wicked level. You don’t even get that feeling that you watched half a movie like with other two-part pictures, as all the crescendos you need are included here.

Ingress is a bit of a slow burn in the first act. But as its strands come together and specific themes are honed in on, the story morphs into something remarkable and beautiful.

Jay Sebring…Cutting to the Truth is a great documentary.

Medusa is an electrifying work of art that elevates its already elevated pop influences, a transcendental tableau of the true-life horror of female oppression.

It’s assuredly directed with a consistent visual tone, and the cast is absolutely dynamite, especially Samberg and Milioti, who have never been better.

Leemans puts in one of the best performances I have seen by an actress playing a male prostitute while actually pregnant. Likewise, Hentschel puts in one of the best performances I have seen by an actor playing a pregnant woman tripping on mushrooms while buck-a*s naked. The two completely inhabit each other’s characters, never sinking down to ridiculing them no matter how hard the onslaught of comedy gets.

While it is not for everyone, those who can stomach the admittedly cringey, well everything about the plot, will find much to love.

Liza: A Truly Terrific Absolutely True Story is a phenomenal documentary and jubilant tribute to one of the best!

For a film about grief, it’s a pleasurable viewing experience. One feels like they are on a lazy river when watching it. Daniela Forever carries the spirit of fantasy-romance films of the past, such as Powell and Pressburger’s A Matter of Life and Death. For those dreaming of escape, this film is for you!

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.

Strictly for hardcore horror fans, though I can see this also becoming a huge “dare you to watch it” event for the uninitiated. We haven’t had a movie this dangerous in the theaters in a long time, and its presence is both important and historical in the history of extreme cinema. This movie will bite your face off.

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.

Thanks to strong direction, fantastic editing, and good acting, Deadstream is frightening, funny, and enjoyable.

The Killing Of Kenneth Chamberlain is a well-executed if a bit stagey, dramatic thriller that illustrates exactly why “defund the police” isn’t just a rallying cry but an important call to action. The actors are stunning in their raw performances, and the story will leave audiences infuriated. And that is precisely the point.

Coulson is still around, for we are left with her fabulous performances captured for all time. Those are the extraordinary stories of an extraordinary woman who couldn’t help but touch and enrich every life and character she was a part of.

Seeing von Stroheim’s unfinished film get its chance in the limelight is amazing. Please check out this captivating and wonderfully absurd drama from the last days of the silent era.

We’ve seen stories like Wildlife done many times before but rarely are they done with such grace and humanity.

I Think We’re Alone Now is an exercise in ambiance, and Morano is nothing if not a brilliant conductor of tone. Favoring dreamy over dreary, the movie is a handsome and often mesmerizing addition to Morano’s expanding oeuvre.

How to Ruin the Holidays reminds us that change, for better or worse, is what makes life worth living.

It is a short jump from laughing to screaming. There is no safe space. Cregger has a refined sensibility for identifying the core irritations in ordinary life and amplifying them into anxiety, escalating to terror.

Spins in its own orbit and dares the audience to come into its weirdly one-of-a-kind environment. This is a delightful work of humor which is worthy of Spielberg-level praise.

A thoroughly enjoyable film, and ranks with Pixar's best.

It still has everything a viewer could want from a movie experience.

Move Me No Mountain is an emotional ride that exhilarates as much as it moves. The performances are perfect, and the story is heartbreaking.

This is a finely crafted film for grown-ups only ... and it's hard to remember the last time we had one that was this provocative and moving.

As clever as the plot is, how it comes to life is something to behold — a command to witness awesome splendor is really the only word that fits here.

Just know that Sacha Baron Cohen is up to his old tricks, but he’s got some new ones, too.

Magic is one of the top-notch films of the 1970s. And if you haven’t heard of it by now, you should never forget the name at this point. It isn’t one of those psychological thrillers out to tie knots in your stomach right off. Like any good magic trick, the excitement comes with the waiting.

If you crossed The Vow with Dark City, we would get the sci-fi horror thriller Affection.

Even the most learned moviegoer won't see where this story is going, and that's part of its charm. The characters have a depth to them that is rarely seen these days.

Imagination spills across the screen in a bold, undeniable presence.

Hall has crafted a masterpiece of nostalgic filmmaking.

I highly recommend this decades-spanning, engrossing, hilarious, sad, and informative documentary to all music fans, whether you liked Davis beforehand or not.

Rian Johnson’s Wake Up, Dead Man is more than a clever whodunnit. It’s a meditation on belief, guilt, and the stories we tell ourselves to stay righteous. What begins as a murder investigation becomes a battle between truth and faith.

The title subject in Maya and the Wave is so graceful and elegant that you can almost forget the Herculean struggle that made it possible.

Waititi masterfully balances the film’s comedy with the seriousness of the subject. He plays with your emotions to heighten the impact of the story’s message. Nothing in this film feels gratuitous and the tonal shift in the film will hit you like a ton of bricks.

Travel Ban: Make America Laugh Again is frustrating to watch. Not because it is poorly made; it is not, quite the opposite in fact. Instead, it is frustrating that in this day and age, a person still has to fight for their right to be considered a human being. As this film proves though, comedy can combat bigotry.

An uber-modern romance story that's powered with raw honesty and coated with wild imagination.

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