2010s
Director Yorgos Lanthimos’ latest is his first truly empathetic character study, aided by three powerhouse performances from Colman, Weisz and Stone.
In an age where horror options are plentiful this time of year, Hell Fest’s derivative thrills almost feel insultingly disappointing.
Little Women will cater to a specific demographic of viewers who are not picky when it comes to the movies they watch, passing off Lifetime and Hallmark movies as good times.
Monsters and Men is beautifully directed, but it lacks focus, as its choppy and undeveloped structure soon distracts from the matter at hand.
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.
Considering Quincy Jones’ origins, his struggle, and his accomplishments, the Netflix documentary Quincy is a missed opportunity.
Kate Nash: Underestimate the Girl is an uplifting documentary that proves that even when your circumstances change for the worst, you can rise above them and come out renewed.
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.
For all its faults, U – July 22 attempts to throw the viewer into an unimaginable situation instead of passively retelling it is worth celebrating, even if it doesn’t fully achieve its immersive aim.
Expelling all mental illness, Maniac blends all conceivable genres and tones, in an unmistakably difficult balancing act set in an unknown retrofuturist timeline.
With an infectious sense of humor and some wonderfully dynamic performances, The Favourite is a shining example of a filmmaker at the prime of his art.
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.
Gustav Möller’s The Guilty is compact but crushing single-room drama successfully secures our emotional and visceral involvement whilst quite boldly moving into some genuinely dark areas.
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.