2010s
Half Magic succeeds with the help of Graham’s stellar writing and direction, the cast’s adherence to Graham’s comedic and dramatic vision, and three central characters that serve as great role models to women of all ages.
Dark River feels more like a transitional gateway to better films, bridging the gap between Clio Barnard’ older social realist efforts and flirtations with experimental works likely to come.
With its unique aesthetic, incredibly talented cast, and political relevance, Black Panther is a landmark superhero film that should set the trend for others to follow.
Quinn Shephard’s Blame is an admirable debut feature, utilizing the framework of The Crucible to delve into themes of adolescent angst, social politics, and high school drama.
Clint Eastwood’s The 15:17 to Paris has been largely trashed by critics. However, the director’s latest film is one of the most formalistically radical films to emerge in recent memory.
Human Flow’s imagery is unspeakably powerful. The sequences captured on film do not shy away from the scale of the issue and the scope of the problem is showcased to truly heartbreaking effect.
The accomplished acting, stunning cinematography, and solid direction keeps Rift constantly engaging and steeped with talent, absolving it of its genre short-comings.
With Damsel, the Zellner brothers take a whimsy and a flippant attitude towards the grit of the modern Western. Their approach is admirable and considerably original, but ultimately a failure.
While by no means without its faults, The Midnight Man, from director Travis Zariwny, is a good time horror film that fans of the genre will love.
Please Stand By is already a favorite for this year, with a stunning craft in recycling an overused story telling formula, strong talent to bring it to life and and one of the more accurate depictions of autism.
For all the disease, danger and overt Trump-related reverberations, Wes Anderson’s ninth feature film and second stop-motion film, Isle of Dogs, is decidedly feel-good.
Powered by memorable performances and Saul Dibb’s sobering deconstruction of the individuals who fought for their country, the engrossing Journey’s End is a hard-nosed, hard-hitting centennial tribute to Britain’s heroes.
Living Among Us is a poorly planned improviso, lacking direction, depth, story, character development and the ability to engage the viewer.
While nowhere near the best picture of 2018, Fifty Shades Freed does prove itself to be a tantalizing, sultry, and seductive conclusion to the saga of Anastasia Steele and Christian Grey that is sure to satisfy fans.
The Boy Downstairs might be much more adept at comedy than romance, yet first-time writer-director Sophie Brooks tells her story with appealing simplicity, and Zosia Mamet’s first lead performance makes you wonder why on earth it is her first.