With unprecedented access to overfilled, frenzied hospital rooms, as well as quarantined homes, Heineman makes one cringe at every prolonged beep of the vitals monitor, delves right into the patients’ eyes, their very souls. He imbues the documentary with the same sense of urgency and empathy that were evident in his previous docs Cartel Land and City of Ghosts. A tough watch but a necessary one, The First Wave marks the finest cinematic account of the COVID-19 pandemic yet.

It’s the kind of comedy that should not work, but somehow does.

The atmosphere was the first treasure, Michael Ballhaus’s cinematography that makes Seattle as alive as the characters, as active as their desires.

The Worst Person in the World is a wildcat in a world of domesticated dramedies and romantic comedies. Trier has made one of the best movies of this year or any year.

Drop succeeds by blending classic thriller elements with modern tech paranoia, anchored by strong performances and sharp direction. It’s a tense, engaging ride that keeps viewers guessing until the very end.

Stop and Go ends up as you expect it to. Some treacly bits rob the movie of its honesty and compromise its goodwill with the audience. But for the most part, it’s a joyous celebration of life and family, as well as a reminder that both will persevere no matter how trying the circumstances.

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.

Thrilling stunt footage aside, this is a film that celebrates the strength of women in the entertainment industry and these two separate stories are tied together perfectly by filmmaker Amanda Micheli.

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

Films like this are few and far between, but the sooner we realize it’s okay not to be okay, the better.

Lie Hard might be slightly too quirky for those who prefer their films a bit more grounded and realistic. For everyone else, Niles and company have provided a fast-paced, witty, charming feature. If you want to laugh while still getting a slight emotional pull at the end, then look no further.

Green Book is a real crowd pleaser — aside from the banter between the oppositely-minded characters, it has clear heroes and villains. The writers do manage to sneak a few nuances in, especially when discussing Shirley feeling out of place in both the white and black communities.

The Clovehitch Killer is one of the best horror films to come out this year. It’s intelligent and subversive, and it captures the banality of small-town life perfectly.

Squaring the Circle (The Story of Hipgnosis) is a grand rock and roll buffet with something for everybody.

Into The Weeds is a most satisfying but frustrating experience. The satisfaction comes from how well-made and engrossing the film proves to be. The frustrations lie in the true story being documented.

Rounding can be a tough film and one that puts its viewers through a lot, but the investment is well worth it.

This is a superior horror film. It hits hard and fast, letting up only to inject some black humor and amp up the tension again before coming back for more. Feast is nasty, brutish, and short, just like Hobbes said all horror flicks should be.

Rustin is an important story well told, with an outstanding must-see lead performance.

Robin de Levita’s adventurous first film is a wild ride that goes for broke in all the best ways. As such, it should not be missed.

This is a film that exists because of fans, was written for the fans and yet can be enjoyed by just about anyone willing to have a good time.

Woo and Benson don’t underestimate their young audience’s intelligence, subtly layering in complexity, which comes off as a mini-miracle.

Watching Flamin’ Hot mirrors the joy of scarfing down a bag of the crunchy red stuff yourself. It makes your eyebrows raise, is instantly addictive, and goes by very fast.

Ozpetek juggles the many story lines with ease, all the while crafting the form of the environment in which they take place.

Song Sung Blue is one of my favorite movies of the year. It all has to do with Hugh Jackman and Kate Hudson’s performances, along with a touching script by Craig Brewer and Greg Kohs. What makes this story so compelling is not only that it is true, but also that Mike Sardina and Claire Stengl are us. They are normal people who want to perform and bring happiness to the world.

Hellboy just might end up being one of the best movies you see this year.

His film captures the wonderment of dreaming - and the reality of waking.

If you can handle a movie with a jam-packed ridiculous narrative that doesn’t entirely solve itself, then you should definitely watch Dreamland.

A warm heart beats subliminally throughout the narrative, a tinge of hope that may be gasping for air but remains vibrant, especially when juxtaposed against the disheveled, rotten backdrop.