United States
The Boys is a bizarre mishmash that leads to some mishandling of sensitive material and a strange tonal dissonance throughout.
Orange Is The New Black was never pitch perfect, but it hit enough high notes to make it count. Farewell, Ladies of Litchfield.
Bottom of the 9th may be plagued with a slow moving plot, it does have the characteristics of what makes a compelling sports drama.
Surviving Confession is very much a lively indie taking place in a lifelessly cramped setting, while bluntly speaking some commendable verities of being human.
The Current War admirably attempts to be something bigger than it ultimately is, with its A-list cast and interesting-but-misfiring style.
Skin manages a few gripping moments thanks to its cast but can’t string them together into something meaningful.
Ladyworld manages to capture the perfect balance between the moments of tension and uneasiness with moments of teenage life.
Love, Antosha competently tells the utterly heartbreaking story of Anton Yelchin, the very intelligent and talented actor whose life was cut short.
Pavarotti is at times hard to watch, but ever so entertaining and explosive exploring one of the most captivating and astonishing artists of the 20th century.
While it’s set up with a poignant perspectives, Cubby fails to provide an introspective look into loss and growth.
Lacking a statement about the artist-muse relationship, Nick Broomfield’s Marianne & Leonard: Words of Love fails to live up to the promise of its title.
While it’s not the best made documentary of the year, The Great Hack is the most important documentary you’ll watch all year.
A baseball film almost without baseball, Moneyball is a revolutionary sports film. Lewis Punton takes a closer look at the conversations that fuel the plot.
Better off Dead uses the tropes and political incorrectness of many 1980s teen comedies but its absurdity is able to undermine these regressive areas.
Rather than looking skyward, Armstrong awkwardly looks at its feet, the film eclipsed by other efforts both fictional and factual.