Endgame was never designed to stand on its own as a single well-crafted movie, and it was never designed to follow the MCU formula. It was designed to cap a decade of buildup around a single gigantic story.... In that sense, it’s certainly a triumph: it’s ambitious, towering, and above all, daring in its difference.

It’s the visual language of video games, but video games pull it off because that distanced voyeurism also comes with something additive: interactivity. Eventually, you will become involved. That is not something a film can offer.

Claire Denis’ grotesque, mesmerizing, one-of-a-kind new science fiction movie.

The colorful characters don't entirely hide the fact that this is a lesser Pixar film, coasting on Finding Nemo's popularity, and telling a too-similar story that isn't as ambitious or emotionally intense.

Favreau and Marks’ version is surprisingly daring in its use of violence, and its physical and emotional darkness. It’s also creative, occasionally in bizarre and colorful ways.

First Love is the kind of film that’s designed for seen-it-all genre fans who know these tropes (the scheming criminal, the dewy ingenues, the cold-hearted lady assassin, and so on) and appreciate seeing them tweaked in new directions, and treated with an air of fond familiarity rather than dour airlessness.

The weight of graphic, grotesque violence hangs over the entire movie. But the daring emotional violence lingers longer, well after the lights go down on the final shot.

It’s a heightened, sometimes stagey take on a trashy exploitation flick, but it is mesmerizing.

Franco has created a movie that is not just hilarious, accessible, and an incredible amount of fun in its own right, but it had me more eager to revisit Wiseau’s train wreck than ever before.

J.A. Bayona has created an unforgettable, emotional experience with A Monster Calls, one that lets us grapple with our most basic human fears and worries, while lighting a beacon of hope that can shine through that darkness.

The sharp editing turns the film into a comedy about how wickedly successful the Temple’s trolling is, and how humorless and easily riled their opponents are.

While the film doesn’t disguise its origin as a Twitter thread, it generally doesn’t treat it as a gimmick, either — because in 2020, the internet is just where people share the weirdest, funniest, and most frightening moments of their lives.

The film moves effortlessly, with plenty of tense thrills and surprise reveals. It’s relentless, but rarely rushed. The action is terse, and in one unexpected case, breathless and terrifying.

Like learning how to cook a meal you grew up eating, Mucho Mucho Amor connected me with my past. It’s like the way air smells different and your heart feels a little bit bigger when you’re home with people you love and miss.

Wonder Woman represents a number of delicate balancing acts: between humor and gravitas; angst and adventure; full-blown, unvarnished superhero fantasy and the DCEU’s usual unpacking of what those fantasies mean.

While the style may outpace the substance, that doesn't make the style any less magnificent. And when it comes to sheer customer satisfaction, The Revenant checks nearly every box, up to and including the man vs. wild throwdown. It just makes a jarring, memorable statement about how often the wild is likely to win that uneven fight.

The best part of Shirley is Elisabeth Moss as a sharp-tongued and gloriously frumpy agent of chaos.

It is undeniably effective in setting mood and tone, and it’s the kind of film that will leave audiences talking no matter what they think of it. If the sole purpose of art is to create an emotional response, Mother! is a masterpiece.

The film barrels through a variety of emotional colors: scares, laughs, moments of emotional vulnerability, and it’s a testament to director Dan Trachtenberg that the pieces fit so seamlessly together.

It’s visceral in its grim realism, yet it’s also poignant and cathartic in its use of the fantastical. Above all, it’s a reminder of how genre storytelling can provide real-world social commentary, not just breezy escapism.

Ultimately, I Don’t Feel at Home in This World feels like an ambitious experiment from a first-time filmmaker trying everything at once. It’s scattershot, but it’s also goofy, creepy, and just wild surprising fun.

John Wick: Chapter 2 is an enjoyable enough expansion on the first film. But its final-act setup for John Wick: Chapter 3 is more trying than promising.

In terms of narrative ambition, and giving meaningful screen time to an ever-growing stable of onscreen characters, Civil War rivals Joss Whedon's MCU standout The Avengers. And in terms of sheer thrill, it surpasses Avengers — at least for fans who come prestocked with an emotional investment in these characters.

Jawline is a nuanced exploration of digital celebrity and the gap between “real” and online lives, issues that are particularly relevant during a mass reevaluation of social media. But it’s also a timeless, bittersweet film about a teenager with ambitious dreams and few opportunities to realize them.

Mary and the Witch’s Flower doesn’t just borrow elements from Ghibli, it feels like a complete continuation of the studio’s work. It’s a welcome relief for every animation fan who thought that particular era of Japanese animation had, after 30 years, quietly come to a close.

It’s still an immensely satisfying and entertaining watch, because it spends so much time just watching Williams throw all his energy into whatever he does.

It's only appropriate that the film is as competent, efficient, and mildly dull as the people it celebrates.

See You Yesterday is a compelling blend of nuanced drama, teenage adventure-comedy, and thought experiment. Its protagonists make a great duo, alternating between sophisticated genre-savvy observations and adolescent vulnerability.