2010s
“A Midwinter’s Tale” was a solid episode, packed with holiday cheer, ill-willed entities, and potential demonic tragedies, making it one of the best in the series thus far.
Mary Queen of Scots has no shortage of talent in front of the camera to make it one of this year’s most overlooked but satisfactory films.
There are successful films buried within Bird Box, but it refuses to build any identity as a film beyond its concept.
Mowgli: King of the Jungle doesn’t impart the sort of excitement you might hope from the newest entry, but it does have a resonance that many of its predecessors didn’t.
To call it a complete misfire would be unfair, but The Harrowing promises such supernatural offerings only to deliver a bland, soft-focus thriller with none of the scares.
The Mule is a worthy callback to Clint Eastwood’s career, playing a 90-year-old drug mule that hopes to make up for his past shortcomings.
The Leisure Seeker isn’t a bad film, but its sluggish pace, inexplicable changes between the film and the book, and some corny dialogue keep it from being great.
The Story of Roger Ailes may be straightforward and a bit lacking in stylistic direction, but it’s a rather necessary look at one man’s life to help understand today’s politics.
Welcome to Marwen is an unfortunately shallow endeavor, with trite dialogue and a saccahrine portrait of very serious issues.
As if to reject beauty’s notoriously food-phobic reputation once and for all, Dumplin’ is pure visual comfort food.
Kidman and Kusama work impeccably together in Destroyer to create an anti-heroine who can shoulder the weight of a familiar genre while rarely giving in to easy tropes.
Pick of the Litter is a sweet and simple film about animals that doesn’t place any of them in peril – so it’s pretty much a winner.
Aquaman is not really a bad movie by DC’s standards, but it is the weirdest thing they’ve made in recent years by a country mile – and not always in a good way.
A well-acted, mostly captivating, and wholly unpredictable noir, Back Roads is an impressive directorial debut for Pettyfer, who pulls double-duty in his strongest screen performance yet.
Anna and the Apocalypse is a roller-coaster of inspired madness, great music, and surprising emotional weight.