Fletcher’s inventive reimagining of several musical numbers, in particular, blends striking visuals and affecting storytelling.

It's a deeply humane and moving look at a complex issue that at the very least demands that a conversation begins not about short term fixes, but long term solutions.

As a filmic examination of an extraordinary mind, it doesn't breathe much life into the frame.

Even if The Little Hours never becomes a knee-slapper, it’s consistently entertaining…kind of like a laid-back, stretched-out Monty Python sketch.

Though the delightful ensemble allows this slight comedy to bob along, it’s Henry who steers this ship into gentle waters. He imbues Charles’ substantial reawakening with great tenderness.

The movie’s practical and special effects are a rogues’ gallery of gougings, stabbings, shavings, and scalpings; those who like to have their stomachs turned will find much to cheer about. But is it actually scary – suspenseful, tense, trafficking in more than the cheap shock of a jump scare or vivid effect? Not really, no.

Even with these minor complaints, it’s hard to deny that It is anything but a triumph. The craftsmanship is impeccable, the performances incredibly strong..., and the fidelity to the source material, in spirit more than specificity, is admirable and appreciated. Had the story given even more time to breathe, it would have been one of the greatest Stephen King adaptations ever. As it stands, it’s simply a very good one.

Digging For Fire is low-lit and pitched in a minor key, a quiet meditation on compromise, individuality, the loss of identity within a marriage, and the aftermath of disorientation that comes with having children and losing touch with your former life.

Clumsy and erratic, though possessed of an undeniable bounding and puppy-like energy, How to Build a Girl is a star vehicle for Feldstein that, while it often does not do its star justice, also knows when to just stay out of her way.

The fact Pusić is able to pull off such complicated visual effects with her actors in scene after scene while keeping her chosen tone is extraordinary for a young director (not to mention the confines of a relatively independent film budget). This sort of world building would absolutely falter in the wrong hands.

As much as Charli is the star of this documentary, her fans are, too, and Alone Together manifests as both a wild ride and a soothing balm—as long as you don’t think too hard about the labor ethics at the center of it.

Slightly disappointing denouement aside, The Vigil is an effective, stripped-down exercise in pure terror, and a strong argument as any for a new wave of Jewish Horror.

From a procedural perspective, the film is an insightful look into the life of a Secretary Of Defense, but as an exploration into how the war in Iraq was allowed to happen, it’s much, much less satisfying

I Am Greta may be a bit uneven, a little unsatisfying, and low on Climate Change context but it will stir the spirit and absolutely inspire your deep admiration for this devoted and steadfast teenager, and her commitment to real change and political accountability.

Silveira sets herself up for a balance between realism and aesthetics that she can’t quite navigate.

Similar to the cringeworthy performance art that wraps itself around the core of the film, This Is Not Berlin is emotionally hollow, more than a bit confused, and regrettably forgettable.

Bana is one of the producers of The Dry, and it’s not hard to see why he wanted to act the role, which is uniquely suited to his specific talents – his potent mixture of brusque physicality and barely bottled emotion. Connolly is a patient enough director to let us take in the pain this man holds in his face and the quiet power in his eyes.

From the outset, What Our Fathers Did doesn’t have much narrative thrust. The film makes it clear that it is more interested in the process than any end goal. But the process of what exactly is a question that gnaws unanswered for the first third of the documentary.

Blockers is the kind of movie that Hollywood typically gets wrong. They make it too crude or too wild or too inconsiderate. Thankfully, Blockers is an unexpected triumph, even if it’s not quite as great as it could’ve been.

La Grazia embodies much of the Sorrentino appeal, even if it registers in more of a minor key for the Italian auteur. The film is playful when it wants to be and pensive when it needs to be.

Green Book is an on-the-nose social commentary that is told with such craftsmanship, earnestness, and comedic expertise that you’re still excited to go along for the ride.

Unfortunately, Cailley’s conventional cinematic aesthetic is also often akin to a contemporary streaming movie (the first thirty minutes or seem like a television pilot) and while the visual effects are solid, there are few images that will stick with you hours after you’ve left the theater. What saves “The Animal Kingdom” is the genuine horror over this happening to anyone (Cailley gets that right, at least) and Kircher’s fantastic performance.

An unprecedented take on the holiday film, but not an entirely successful one.

The Mole Agent is a perfect film. From a technical and emotional viewpoint equally, The Mole Agent possesses no flaws. Yes, as with every documentary, manipulation is openly displayed and validity can always be questioned, but The Mole Agent dissuades any inkling of pessimism or negativity through its unabashed sincerity.

This is a sweeping, lived-in romance that is as resonant as it is precise.

Alps has proven Lanthimos to be one of the most fascinating filmmakers anywhere right now.

While we still recommend it to fans of the band, be warned that it might leave you wanting an encore.

Unfocused and unpolished, “Le Concours” might’ve been fared better if one of the prospective students picked up the camera instead.