United States
There has never been a film that so thoroughly captures the excitement and danger of space travel as First Man, capturing that intoxicating mix of euphoria and terror of the 1969 Apollo 11 Moon landing.
The Two Jakes may be an inferior sequel to Chinatown, but this Jack Nicholson-directed follow up is more intriguing than its reputation suggests.
Considering Quincy Jones’ origins, his struggle, and his accomplishments, the Netflix documentary Quincy is a missed opportunity.
Private Life is a beautifully crafted study of two people who struggle to relinquish their desire to control and plan every element of their life.
Ride takes a simple premise and rides it to its logical conclusion, with enough charisma and style to remain interesting.
Expelling all mental illness, Maniac blends all conceivable genres and tones, in an unmistakably difficult balancing act set in an unknown retrofuturist timeline.
The American Western is a worthy way to gaze at the past in reference to our present; seen from the early days of the genre to more recent revisionist entries.
With an unapologetic, feminine roar, City Of Joy takes on a wholly ignored genocide, racism, toxic masculinity and bloodthirsty greed, a rallying cry for survivors of violence and product consumers.
Venom is a film with a myriad of problems, but they’re forgiven because of its affable undercutting of what you expect from superhero films.
I Think We’re Alone Now is a beautiful slow burn drama with a beautifully eerie atmosphere and striking performances from Dinklage and Fanning, ruined by an unruly mess of a third act.
Smallfoot is desperate to entertain its audience with musical numbers, visual gags, and rapid-fire dialogue without paying that same attention to character or stakes.
Living in the Future’s Past gives viewers the chance to see what they can do to contribute in the fight against a growing problem within our society.
The Predator is a brainless, tone deaf picture, that is quite easily the worst thing writer/director Shane Black has ever laid his hands on.
A Star is Born announces Bradley Cooper as the next great actor-director, but Lady Gaga is by far the beating heart of his directorial debut.
Dan Fogelman’s Life Itself has heart, but it’s ultimately too shallow in execution to support his grander ambitions.