2010s
Though with no dialogue, The Red Turtle is a profoundly moving work of art, culminating in one of the better animations in recent memory.
Passengers is a dull sci-fi that is neither saved by its star power nor by the potential of the story which it initially seems to convey.
With little of the humor and spark that made the original a Christmas classic, Bad Santa 2 is a misconstrued disaster for all involved.
Despite its length, Toni Erdmann succeeds because of the character study at its core, and also contains one of the best scenes of the year.
Brutal is an unentertaining slog to get through from start to finish, and it should have been abandoned on the very first day of shooting.
Cameraperson interweaves many distinct stories brought to the screen by Kirsten Johnson; it is an unwavering work and truly worth your time.
Manchester by the Sea is a subtle, nuanced story of loss and grief, brought to life through restrained direction and powerful performances.
On New Year’s Eve, six friends get together and reflect on their lives, and the bigger issues in the world. Auld Lang Syne is a nice addition to the small collection of films written, directed, and shot by women.
In Loving, Jeff Nichols’ historical drama about an interracial couple who helped change marriage laws in The United States, the characters are reflections of Nichols own lineage and it’s quite the different kind of biography.
Closet Monster is a movie that fluently balances drama and humor, but the very essence within its message is one of defiant and radical hope.
Miss Hokusai is based on the Japanese manga, and through a series of montages, it tells a powerful story of the struggles of an artist.
Other People, a semi-autobiographical film based on writer Chris Kelly’s experiences, works in a beautiful way due to the subtext behind it.
Office Christmas Party is a glaringly unfunny R-rated comedy, which isn’t even saved by the talented crew in front of and behind the camera.
With Hitchc*ck/Truffaut, Kent Jones has created a meticulous and perceptive work in which essay, commentary and conversation overlap, charting the strange synthesis of reverie and technique which constitutes the art of filmmaking.
Nocturnal Animals is Tom Ford’s latest film, presented in lavish and bright neon colors; though it also possesses a hopelessly dark view.