2010s
While produced with sumptuous care, Youth’s Spielbergian desire to over-sentimentalise every scene makes it more frustrating than affecting.
There’s a sense of shallowness to Ferdinand, a film so generic and formulaic that it’s hard not to be cynical about its construction.
Future ’38 is a memorable adventure which perfectly reflects our time, as well as reminisces about the films and sensibilities of the past.
Félicité contains some of the most powerful moments of any movie this year, yet never quite amounts to the sum of its impressive parts.
Heavily reminiscent of Michael Haneke’s Funny Games, Chameleon boasts three great performances – but still leaves a sour aftertaste.
The Disaster Artist is a painstakingly recreated and, above all, entertaining film about the making of Tommy Wiseau’s cult classic The Room.
Manifesto, based on an art exhibit, contains an incredible multi-role performance by Cate Blanchett, but it doesn’t add up to a coherent film.
The Killing of a Sacred Deer is an exploration of revenge and retribution, with one of the most brutal endings you will ever lay eyes on.
Jumanji: Welcome to the Jungle is a surprising treat, modernizing the original film while also creating a fun, lively action-adventure.
Quest is both a mirror and a window, showing both symptoms of our culture and the ways in which individuals subvert and redefine them.
I, Tonya is a refreshingly dark comedy biopic about the famous 1994 Tonya Harding incident, and is laden with incredible performances.
The Pirates of Somalia is a fantastic adaptation of its non-fiction source material, including a commendable performance from Evan Peters.
Roman J. Israel, Esq. may be disappointing after Gilroy’s Nightcrawler, yet it still has a few positives, such as Washington’s performance.
Call Me by Your Name shines for its potency and lyricism, delving with an effortless thrall into the lives of two men who are forever changed.
Mr. Roosevelt is about discovering changes about yourself when confronting your past, poignantly wrought by first-time director Noël Wells.