While Leigh transports you back to 1819 through these rich characters, he simply tests the audience’s patience in getting to the heart of the story. There is an abundance of formal speeches and long monologues in the film, and they are often arduous and repetitive.

There’s been no shortage of study on Welles, but They’ll Love Me When I’m Dead offers a new understanding of the elusive, cunning filmmaker with a verve the man himself would have admired.

The various marvels of the movie aren’t just the sparks between Redford and Spacek or Waits’ dry humor but often, Lowery’s inspired direction.

Taken individually, there are cherishable moments and performances scattered throughout “The Ballad of Buster Scruggs” like so many flecks of gold amid the silt. But as a whole, the film has to be chalked down to a perplexingly minor addition to one of the most beloved cinematic canons of our time.

The star that is truly born here is Cooper as a director.

Destination Wedding is bitter, bubbly and ultimately refreshing, the Aperol Spritz to your sickly sweet Amaretto Sour.

This is a subtle, slow burn of a film that refuses to bow to audience expectations in either its small moments or its overall arc.

It is almost impossible, however, to watch Other Side Of The Wind without taking its history into account. That makes the final product uniquely captivating.

You might not understand what the hell is happening in Let The Corpses Tan, but you’ll certainly never be bored.

This time the irony is of the tragic kind, and the stinging, wicked wit is tinctured with wholly new notes of tenderness.

This is personal filmmaking taken to such an extremely minute level that at times it can almost feel prurient, like we’re accidentally eavesdropping on things too private for our ears, like we’ve intercepted an embrace sent back through time and not really meant for us at all.

Steering an astonishingly accomplished path between the small steps and the giant leaps of the Apollo 11 mission, reigning Best Director Damien Chazelle opens the 75th Venice Film Festival with First Man, an immersive, immaculately crafted, often spectacular and satisfyingly old-fashioned epic that may well become the definitive moon-landing movie.

Like life itself, Hale County This Morning, This Evening doesn’t lend itself to immediate comprehension. It’s to Ross’ credit that his work remains so thoroughly accessible and engrossing regardless.

The potential of this movie’s premise might have been squandered by cliches, but McBride and DeWitt keep it watchable.

A rare film with a heart of gold and a fresh perspective on the lives of marginalized people, Support the Girls effortlessly but sincerely sways sympathies for the lives of those one would otherwise never consider.

The Oslo Diaries is at its most gripping – and its most devastating – in its coverage of how close to peace the two sides came but have still yet to reach.

By bringing in a strong screenwriter, hungry filmmakers with a vision, and a cast and crew who care deeply for the work... you get the recipe for a delightful and deranged modern-day exploitation film that doesn’t take itself too seriously, but somehow, asks you to take it more seriously than you might have otherwise.

Crime + Punishment isn’t without hope, but it anchors that hope to the unflattering realities of American policing.

A laughably bad film.

There’s emotional complexity, making it work for more than just its key demo.

The Ranger is a few degrees off of being great; its villain is way too confused and ill-plotted for the film to be anything other than periodically fun.

The world of the film is bracingly immediate and constantly overflowing—dubious sound design or a shift in image quality, while glaring, can’t puncture the holistic nightmare of Matti’s vision.

Aside from its phenomenal script and performances, Night Comes On delights with stunning visuals.

Anarchic and daring, Never Goin’ Back is a tale of adolescent female friendship that is somehow ballsier than your standard dude-driven buddy comedy. Frizzell’s film is as fearless as her heroines, and it refuses to judge them for their bad behavior.

Our House, doesn’t set its ambitions much higher than the VOD market, and its haunting is passable if not all that spooky.

Pulling off an ambitious mash-up of genres like Good Manners is no easy feat — that Dutra and Rojas pull it off so successfully suggests we’ll be hearing a lot more from them down the road.

Hot Summer Nights is unconventionally amusing, spits in the face of its own flaws and somehow manages to impress by atmospherically rendering the emotions tied to the trappings of young adulthood. At it’s best, Hot Summer Nights is an admirable attempt at summertime antics void of a happy ending.

Age of Rage doesn’t ever chart any new ground. It settles with serving as yet another incendiary portrait of hate in this time of division.