2019
My Zoe goes beyond expectations by delving into the emotional ruins of conflicting morality with such perfection, and proves Julie Delpy to be a truly remarkable filmmaker.
A coming-of-age film which strives for irreverent authenticity, Our Ladies ends up clunky, a little cringey and uninspired.
Not only does White Riot present a compelling case of why the fight against racism isn’t over, it makes you want to join in.
The remake of Jacob’s Ladder is a simplistic but overly convoluted horror with no thrills and spills.
Velocipaster would have worked better as a short film. As is, it pulls itself into too many directions with random plot lines.
Prarthana Mohan’s coming-of-age dramedy The MisEducation of Bindu arranges Grade-A talent, on-screen and behind-the-screen.
Harpoon never gets deep enough to attain full authenticity, but it’s still a fittingly tense and amusingly deranged romp, poking fun at how low these people are drowning into moral abyss.
It would be unsurprising to see Making Waves used for educational purposes in film sound classes for years to come, but even your average film buff will enjoy it.
Bong Joon-ho has put together an intricate, multi-layered portrait of inequality and class. At the same time, he keeps the experience fun and intoxicating.
With Portrait of a Lady on Fire, writer-director Cèline Sciamma has created something extremely precious. Read our coverage from NYFF 2019.
Blood Quantum manages to be creative, while somehow also maintaining the zombie apocalypse genre’s known sensibilities.
Michel Ocelot has always been one to apply the breadth of his creativity towards an easy narrative, but only with Delili does it prove to be something of a barrier to what can be more fulfilling.
Low Tide is a tactile, explosive study of masculinity, an exploration of what boys do, what makes them do it, and how they need to learn to stick up to each other.
Little Monsters is a horror comedy with no scares, and a comic potential that runs out of steam by the time the premise kicks in.
Dolemite is my Name manages to be a loving ode to Blaxploitation and Black independent filmmaking while still being one of the funniest films of the year so far.