2018
Disquieting and deeply moving, Sadie takes its story to extreme lengths while still feeling utterly grounded in the emotional reality of its characters.
On the performances alone, Bad Times at the El Royale is worth your time and money, lending itself to justifiable reasons to revisit for multiple viewings.
Black ’47 isn’t a perfect film – the shaky characterisation prevents the emotional undercurrents from truly picking up speed. Regardless, it’s a fantastically captivating historical epic.
The mild and moderately amusing take precedence over any grander scheme in Monrovia, Indiana, lacking a moment of discovery in the mundanity and never evoking superiority.
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.