Part of what makes this film a must-see for Titanic fans is that it truly puts you closer to the wreckage than anyone else can get.

This is a brutal, exhausting, and genuinely horrifying little ghost flick.

The action scenes are exciting, the fantasy scenes are creative and the war scenes are brutal.

The Killer is an action film with verve and brains to spare.

An amazing accomplishment by Newman as the best fight man has left in him. There’s also an Oscar winning performance by champion Foghorn Leghorn sound alike George Kennedy.

Soderbergh does the whole movie in long takes using a wide-angle steady-cam setup. It is a situation fertile for great acting, as the long shots allow these performers to really inhabit their characters.

It’s a film too real to be written. It was lived and continues to be lived in Alabama every day.

It is refreshing to see an adventure flick that is not burdened by adopting a cynical and dark aesthetic. See this film if you’re a history buff and lover of old-fashioned adventure flicks!

Us is a bit predictable and contains a few jumbled auditory edits. However, these small missteps are in the service of an ambitious story that has a lot to say about what divides us as humans and how those divisions hurt everyone. Peele’s direction contains a tight grasp on horror and comedy, balancing both perfectly. His game cast shines brightly in their dual roles, and the ending makes the whole endeavor well worth your time.

Daniel Karslake and writer/editor Nancy Kennedy are excellent storytellers, and I’m forever grateful to them and the families who participated for hopefully helping society take a step in the right direction, away from discrimination and towards equality.

The Cow is a powerhouse creeper where one of the great actresses of her generation shows us how it’s done.

Writer-director duo Albert Birney and star Kentucker Audley take us on a whimsical journey that bends timelines and genres, resulting in a consistently absurd, hilarious adventure.

As tired as we are now of origins, Superman set the gold standard for such stories.

It’s a delightful comedy about some of the darkest stuff we can go through as humans, which can only be pulled off by certain writers and directors. Gus Van Sant is definitely one of them.

It is a magnificent documentary on art and how artists interact with the world.

Sasha deserves credit not only for making a riveting documentary but also for getting so darkly personal.

Tenet is a film that will stay with you forever from its first scene, one that will tempt you to revisit it in part or as a whole, and that really tells you what it is: a masterpiece.

Attempting to compare “Freaked” to any other movie would prove an exercise in futility. This is a singular film—a wholly originally movie that, despite its flaws, will win over the most jaded film fan simply because it is uniquely and wonderfully bizarre.

You Are Not My Mother burrows underneath the nerves and stays there. It accomplishes this thanks to the amazing cast and strong visuals, which are ideally suited to the intense material.

Normally film is considered a director’s medium, but this one belongs to cinematographer Paolo Carnera. The footage of Felice rediscovering Naples is nothing short of stunning. Martone wisely understands that he has three resources in Nostalgia that other filmmakers do not: Carnera’s eye, Favino’s acting ability to quietly emote with no wasted motion, and a city that is heartbreakingly beautiful to behold.

The Night Of The 12th will emotionally exhaust audiences and get under their skin with its haunting ending.

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

Meet Me in the Bathroom is a moving memory of each band and their legacy in a larger musical landscape. It captures the ethos of each artist and is an excellent visual companion to Lizzy Goodman’s oral history.

While a rock doc on the surface, Resynator showcases all the conflicting nuances of reality with higher clarity than previous documentaries. Here we see the real life we live in, where everything is both so cool and completely sucks at the same time. We also get to explore how a person’s conception of an absent parent affects the architecture of their self-identity. It is fascinating to see how, as different mysteries are solved, it affects Tavel.

The movie gives us lovingly shot landscapes, portraits of extraordinary friendships, a great score, dialogue that only occasionally slips into history lessons, a number of memorably etched minor characters, a splendid performance by its youngest star and two mysteries.

No one is safe, and decency is thrown out the window. Not since Deadpool has a movie ever been so f****d up. Though Deadpool wandered more into the sexual and scatological terrain, The Suicide Squad, instead, blurs the line between cartoon violence and gory realism.

Joshua and Rebecca Tickell’s documentary, Common Ground, is that rare documentary that actually proposes solutions…practical solutions. I fear that the solutions will disappear into the void if we don’t say anything.