Hersh and Poitras fit together like hand in glove. Exceptional warriors for absolute truth and justice, both have made careers out of exposing systemic abuses of power in ways that have often made them enemies of the state - and yet, both have been granted unusual access to the truth.

Nuanced, thoughtful, and deeply effective, Gyllenhaal’s movie is assuredly executed, uplifted by a strong, striking performance by Olivia Colman.

Trier captures so much while saying so little and, in many ways, Sentimental Value feels like the film he's been building toward his entire career.

It's no less beautiful than anything Miyazaki's done before, and these softer illustrations, like sketches that were never refined, offer a dreamy world.

While it may not be the most refined example of its genre, it's really hard not to fall in love with A Little Prayer. Both in the script and performances, the characters feel thoroughly well-realized, the themes at the heart of the story are universal and tackled deftly, and MacLachlan's direction creates a richly tender visual palette.

If One Fine Morning offers no great revelations, it is full of echoes, parallels, and sparks that leave the viewer activated beyond its runtime, perhaps engaging with the world a little more thoughtfully than they were before watching.

It’s bleak and hysterical and violent — everything you’d want from a Park film. But it’s also devastatingly intimate and intensely relevant, both in the ways it tackles questions of identity and our place within an increasingly dangerous system, one that could feasibly lead people to murder.

With personal and generational trauma at the forefront of the story, Eisenberg delivers a heartwarming film that strengthens family ties and underscores the difficulty in speaking about the pain between its members, no matter how close they used to be.

It’s a movie that will have a lasting impression on the audience as its themes, execution, and sharp, lustrous visuals fully take hold, leaving viewers with a lot to think about.

West Side Story is visually entrancing, emotional, and the choreography and staging magnetic even when certain aspects of the story don’t always work.

Yes is an astonishing protest film whose comedy belies a broken heart.

The film is outstanding in almost every regard. It's an uplifting, hilarious, gut-wrenching, and stunning animated adventure that reaffirms the power of a parent's love.

Thankfully for us, though, a film is not a meal. We can watch The Taste of Things as many times as we'd like.

It's a breathtaking film from a new visionary of the queer indie scene.

This story of civic injustice isn’t just a great achievement by the director. It’s a cautionary tale about the repetition of tragic moments in history.

Black Bag is engaging and refreshing precisely because it is so personal, raising the stakes to the highest level without having to be extravagant in its set pieces.

There's an air of tranquility about it and Spielberg does well to balance a few comedic moments with a whole lot of heart. Even the more dramatic moments are depicted with patience and warmth. It's as if Spielberg is softly wading through his own memories, pulling open the doors to see each one with a lot of light and love in tow.

It's artful, atmospheric, and observant; a slice-of-life film told in a hushed tone. It's dedicated to recreating a specific time and place and dropping us into it. There's a gentle steadiness to the way it moves.

I’m Still Here is an evocative, nuanced portrait of family and the lasting imprint of politics.

Underneath its story of the sudden animation of household products is a layered critique of late-stage capitalism, a plea for the humanity of queer folks, a rebuke of the erasure of history and of memory, and a challenge against traditionalism which holds back a people from necessarily breaking free, to the next stage of life.

Ozu's penultimate movie, The End Of Summer, was part of his color films made during the late 50s and early 60s...The End Of Summer contrasts the negative sides of both traditional and modern Japanese life during that period.

Thankfully, Craig captures the magic that so many have fallen in love with over the decades. The story explores the uncertainties of religion, sex education, and girlhood with incredible sincerity and without judgment of any option. What's more, it beautifully reveals the side to humanity that society often tries to hide with these concepts — but does so with genuineness and care.

The film has its fair share of intoxicatingly gripping moments and watching Kaluuya as Hampton is visceral and empowering. Unfortunately, it never feels like the story gets out of its own way enough to flourish, nor does it explore the complexities needed to emphasize and humanize the characters in the way that it should.

I was taken to another place watching Sinners, and I have no doubt audiences will walk away having been moved and simultaneously entertained by this gripping, multifaceted story that deserves to be seen on the biggest screen possible and, ideally, more than once.

Earth Mama is the kind of film that draws you in and keeps you hooked with its powerful storytelling and the layered intimacy within Nomore’s understated performance.

It is focused on its small-scale story about the main characters who are burdened by pain and dead-ends, but carefully works in the broader injustices it wants the audience to see.

A fever dream in the bleakest sense, Sirat is a wild and apocalyptic epic, mythological in scale but intimate in its story about family.

The transition of tones is subtle - you don't realize you're watching a horror movie until it's too late.