Take Me To The River: New Orleans is edited together in a way more organic to music than traditional documentaries, which works wonders.

The directors’ reverence is clear, but they don’t shy away from giving a three-dimensional examination of their subject.

Clint Eastwood is the ultimate thinking man’s cinematic killing machine. High Plains Drifter is his spooky, dark, and vicious version of the Sergio Leone Man With No Name Spaghetti Westerns he once starred in, and a moody existential meditation on gunplay, revenge and karma. Payback! 

We’ve seen it all before: the obsessive cop with emotional baggage, the small-town folk being interrogated, the lovey-dovey subplot, the tonal dreariness. The filmmaker isn’t aiming to avoid tropes, and what the film does, it does splendidly, though an injection of humor would have certainly been welcome.

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.

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.

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.

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.

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.

Eminently successful at portraying the former first lady's flaws because it allows her to describe them herself.

Not only documents a fascinating part of American history, but also leaves us wondering how (and if) this era's youth will manage to find a voice of their own.

The performers all fall effortlessly into their slapstick roles and the troubadour duo -- the film's Greek chorus -- adds a delightfully poetic touch.

The film is beautifully executed with grace and lavish cinematography.

If you want to discover (or get to know more about) a unique man who is as wildly talented as much as he tries to say otherwise, please watch The Times Of Bill Cunningham.

The movie is never funny, scary, spooky, or interesting. Bakalova and Davidson are trying their best but cannot buoy the picture. Badly lit, poorly shot, and sporting even worse dialogue, the film offers nothing to anyone, though it thinks it has something important to say. Pretentious and dull is the worst combination.

Even though the story covers familiar ground, it provides enough tension and humor in the presentation to make it worth watching

Thanks to the stylish direction and strong cast, the film is sure to terrify and delight everyone who dares to play along.

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.

Directors Jack Clark and Jim Weir deliver an unpredictable and eerie narrative that lingers long after. With its sharp character development and refusal to sanitize its dark themes, this Australian indie is an unsettling yet thrilling watch you won’t forget.

Kai Luke Brummer is a revelation in the central role, his introverted performance buoying the plot with nuance and charisma. We navigate through the horrors right alongside him, and we root for him, and in the end, despite a striking and sad realization, we gaze at the ocean and wonder if there’s hope for humanity yet.

The story of Happy Holidays starts out fragmented, so it’s a bit disorienting. But when the puzzle comes together, it clicks in a satisfying way.

Higashide effortlessly switches between the two polar-opposite men, both utterly convincing.

Perkins brings an entirely new perspective to her life and the events that lead to her untimely death.

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.

Sports fans will go nuts over it, as will anyone who appreciates the fine cinematic storytelling on display in the film.

The Bank Job secures the viewer’s attention pretty quickly and does not relinquish that hold for a second.

The screenplay has a strong sense of fun but after establishing its concept and characters it doesn't know where to take them.

A poignant reminder of why people used to actually listen to their radios.