Destroyer is a good film, but it is Kidman’s nuanced performance that takes it to the next level.

The Marriage shows us this problematic side of love with no judgment, which is incredibly refreshing.

As Sawyer, Hermione Corfield is probably the most famous of the film’s cast. She is the film’s solid foundation and carries it to the finale. She’s believable, strong, and sympathetic.

As with all dramatized stories of real lives, artistic license hammers messy reality into a watchable film. Dramas are not documentaries. The essential emotions of Freddie’s life and the history of the band are here. There’s nothing unexpected in the structure of the movie. It’s a visit with some old mates you’ve not seen in a long time.

Spider-Man: Into the Spider-Verse is probably the best-animated superhero tale to do justice to the pulp comic book fan both in style and content. It upholds the spirit of Marvel Comics by juxtaposing the humanity of each hero and villain against the prerequisite kick-ass action sequences. At let’s face facts, the art direction is the true star of the film.

Wrapped in deepest melancholy, Cold War has no idle or frivolous scenes since everything fits and flows under Pawlikowski’s masterful direction.

The only reason to watch The Kindergarten Teacher is Ms. Gyllenhaal’s performance, whose quality makes us resist until it’s possible.

Vice, written and directed by Adam McKay, plays straight to the cable-news generation of political enthusiasts. It’s depthless, has the attention span of a gopher, and is more concerned with appearances than getting to the root of anything.

The American Meme works best when it reveals the subtle pain behind much of the manufactured fantasy.

If they had gotten the music right, it could have stood by the original classic.

Aquaman is worth seeing if only for its original visuals and the grand vision from director James Wan. As a whole, it is a bit of a mess and ends up being an exhausting experience that would’ve benefited from some judicious editing.

If Beale Street Could Talk is an immersive experience. Viewers will get wrapped up in Baldwin’s timely tale of love, perseverance, and prejudice.

You will laugh, cry, and be left breathless by Hedges’ heart-pounding adventure and intimate portrait of family love. This film will hurt and capture your heart in the best way. It is without a doubt an unmissable cinematic achievement.

The film’s events are easy to follow enough, but the grand ideas layered beneath this world are just too out of reach for us and them.

There are scenes of utter brilliance and honesty, then clunky scenes of melodrama the next.

In all, Somm 3 is an absorbing 90 minutes that will likely whet your appetite for a glass of burgundy, and if nothing else, you’ll get a few tips on wines to check out.

A finely gradated study of race and masculinity in the age of Trump, Tyrel is also an engrossing portrait of the revealing power of language.

The People’s Republic of Desire is a psychological treatise on self-worth, and the lab rats are the citizens of China.

The strength of the film comes from the symbolic devices that decorate the strikingly illustrated social ladder.

Topical resonance is all that the movie musters, as it changes subject matter on a whim and doesn’t give the audience enough background information on the issues or the interviewees to make a whole lot of sense.

It’s a beautiful visual and spiritual journey through the glorious highs and devastating lows of a brilliant artist who was ahead of his time.

I found the entire emotional journey on which Weightless takes viewers to be rewarding as well as heartbreaking.

While a few flaws are present, the directors and screenwriter deliver a high energy bloodbath with several creepy scenes, excellent puppetry work, and a cast that shines brightly. It is well worth a watch, and I greatly look forward to a sequel.

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.

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

It is Foy’s performance and presence that makes you want to stay to the end. She is the girl thrust into leadership with the vulnerabilities of her young age and with youthful curiosity. She’s not a child pretending to be an adult, but a child forced to act like one.

Saving Brinton loses focus a few times, but its noble heart will keep the viewer engaged. Zahs is an affable chap, and his love of history is remarkable. His quest to save Brinton’s collection is an enjoyable one that will leave the audience happy and with a deeper affection for the way these films were shown back in the day.

Time Trap is highly creative, populated with relatable characters, with a whip-smart script. Sadly, the very end of the movie undoes the tense atmosphere setup throughout. While it does not ruin the film, it does leave one a bit disappointed.