2020
Greyhound passes by as a monotonous series of skirmishes that never feel that threatening, even when boats are exploding around them.
While missing opportunities along the way, A Whisker Away makes up for it with its stunning original art and world of humanoid cats.
Gather In The Corner works well as a subtle satire on school safety, while also being a light-hearted watch.
Despite a satisfying ending, Amulet’s messy timeline and uneven pacing prevent it from reaching the greater heights that could have been.
Bloody Nose, Empty Pockets is an immersive experience to say the least. It’s a bold cinematic achievement and fine work of deception.
Mucho, Mucho Amor: The Legend of Walter Mercado felt like it was a documentary stuck between a rock and a hard place.
The Fathering Project turns passion into poetry in the pursuit of finding what it means to be a father in today’s society.
We spoke with Gavin Rothery, the director of Archive, which explores new territory in sci-fi themes like memory, humanity, loss, and fear of replacement.
Despite a potentially fun premise, Elvis from Outer Space does not quite capture the B-movie joy it appears to be chasing.
The Beach House has all the makings of a home run, but the execution leaves viewers checking their watches.
With a a compelling, chemistry-driven narrative, Palms Springs is refreshing take on the time loop genre and one of the year’s best comedies.
Relic, through a deliciously brilliant depiction, personifies and tackles the social and familial issues surrounding dementia.
The Old Guard delivera propulsive sets of action, plenty of over-the-top violence, and breathtaking vigorous energy from Charlize Theron.
Guillaume Pierret’s Lost Bullet is a wannabe Mad Max that takes in pride in flaunting its no-nonsense action movie tag.
At the center of Woo Min-ho’s The Man Standing Next lies a political scandal that has puzzled historians for decades.