2020s
It mostly delivers on the thrills and kills, providing enough of a jolt of energy to satisfy genre fans.
Cruella is a welcome return to the good, dark, bold filmmaking that we haven’t seen in a long time from Disney.
Lisey’s Story is a miniseries of magic, both in what it explores universally, but also what it generates internally.
Mohammad Rasoulof’s There is No Evil is an excellent and riveting drama with a few divets holding it from perfection.
Paul Negoescu’s Two Lottery has a funny enough premise with a cast that knows how to play to one another’s strengths.
Fans of Snyder will undoubtedly find value in it, with moments where the director is allowed to play to his strengths, but they’re far and few between.
The potential with this was promising, and yet they couldn’t quite make it work.
There are some fine performances and strong scenes here and there but the editing darts between so many stories that it’s just begging for a fan cut.
The Underground Railroad is so much different than anything Jenkins has ever worked on before; it’s grander and more ambitious, it plays with magical realism to a brilliant result
John Calucci and Brandon LaGanke’s 2020 comedy Drunk Bus is unconventional, funny, and poignant from start to finish.
Sky Hopinka’s film “małni: towards the ocean, towards the shore” is a meditative experimental film rooted in Chinook mythology and tradition.
In a transformative paranoia and confined space, The Woman in the Window may not be the best remake of a classic tale, but it is far from the worst.
Walkaway Joe seems like little more than a run-of-the-mill kitchen sink drama with a nine-ball angle. But Wright’s film is remarkably poignant.
The Man in the Hat is a whimsical and playful film told through the mostly dialogue-free journey of a man played wonderfully by Ciarán Hinds.
In the film’s approach to try depicting its scandalous central relationship as naturally occurring as possible, Wet Season sacrifices narrative or emotional thrust.