2019
Céline Sciamma’s tender masterpiece paints a portrait of visual poetry, of what happens when art intersects with love for a fragment of time.
Together is a poignant and fascinating meditation on death, loss, and our natural obsession with it.
Mirrah Foulkes’ folk tale of misogyny in the Middle Ages, Judy & Punch, is sometimes mischievous and sometimes utterly volatile, but never formulaic.
Despite excellent performances from Binoche and Deneuve, Koreeda’s The Truth is rather more conventionally dull.
John Crowley’s adaptation of The Goldfinch lets down its source material and is, above it all, limp Oscar-bait.
Between a disorganized format, poor storytelling choices, and novice performances, we condemn 47 Meters Down: Uncaged to the chum bucket.
Living up to its eccentricity and lyrical presence, Every Time I Die extensively utilizes its piercing score and shadowy effects.
Predictable to a fault, Ready or Not is still engaging, edge-of-your seat entertainment that brings just enough gore coupled with humor.
Katrin Gebbe’s Pelikanblut is a balance of dramatically written material and an underbelly of deliciously spooky horror.
The losers are as compelling as before, Chapter Two successfully binds this group to its former to give fans a nuanced end.
Thoughtfully composed and steadily educational, Super Whale Highway’s reflection on the domestic duties of the humpback whale is a trip worth taking.
The King may not be Michôd’s best by any means, but with strong performances and cinematography, it’s a strong effort nonetheless.
Om det oändliga (About Endlessness) can be painfully slow at times, but it is superbly captured with a truly delightful aesthetic.
Monos isn’t simply a film you watch, it’s an unflinching descent into chaos in the best way possible, haunting you long after the film has ended.
Adults In The Room is a hard sell, failing to deliver an intriguing narrative despite being about the political cunning behind the Greek financial bailout.