Even when her movie spins and lurches, the sensational Tessa Thompson blows the dust off a classic Ibsen play to find its queer defiant heart

This intriguing fraction of a biopic rises above a clumsy script and stagnant direction on the strength of watching rock icon Bruce Springsteen, admirably played by Jeremy Allen White, show depression who’s the boss.

Keanu Reeves is an angel of fun in this bright but tonally broken Aziz Ansari comedy about the hell of living in a gig economy.

In Jafar Panahi’s latest masterpiece, one of the very best movies of the year, five Iranian dissidents debate killing their former torturer.

Josh O’Connor and director Kelly Reichardt tell the story of an amateur art thief who’s not as smart or cool as he thinks he is, though the movie is both those things

Ethan Hawke brings back the mask that launched a thousand screams in a tricky treat of a horror sequel that’s perfect for Halloween

Ethan Hawke gives one of his greatest performances as a Broadway musical legend who ends up breaking his own heart in Ricard Linklater’s enthralling, encapsulated biopic

Uneven in tone and pacing, Guillermo del Toro’s passion project about a monster and his creator still roars to life as a thing of beauty and terror.

Ruth Ware’s murder-at-sea bestseller is star powered by Keira Knightley, but this water-logged whodunit sinks like a stone.

Alternately terrific and tepid, Bill Condon’s swirl of song, dance and Technicolor keeps the musical alive on screen with the help of Jennifer Lopez, a star who can hold the camera and bend it to her will.

A numbingly dull follow-up to two “TRON” epics that even Jared Leto and a great score by Nine Inch Nails can’t make great again.

Linda is a beast of a role and Rose Byrne plays her with everything’s she’s got and then some. No list of the year’s great performances would be complete without this tour de force.

Channing Tatum and Kirsten Dunst find the heart but not the soul in a true-life crime drama that should have cut deeper and hurt more.

There’s good reason to throw stones at Luca Gaudagnino’s teasing provocation about cancel culture. So have at its dawdling, blowhard, philosophical pretensions, but the film—riding on the power source that is Julia Roberts—stubbornly lingers in the memory.

Bigelow’s triumphant return, after seven years, is essential cinema, without closure but not without hope. The house she has built for our attention is scary as hell, but in whatever remains of it, humanity still has a future.

The best high-wire director of his generation wakes up the sleeping giant of American cinema by turning this radical blast of action, fun and fervor into the movie of the year.