Focus Features
It’s hard not to muse over whether any other performer this year can top what Cate Blanchett does in Todd Field’s Tár.
The Card Counter, the latest film from writer/director Paul Schrader, is very much a companion piece to his earlier, existentialist efforts.
Promising Young Woman sacrifices its opportunity to deliver the ultimate revenge fantasy for something unexpectedly profound and, thematically necessary.
Let Him Go is both a period piece — though set in the 1950s, not the Old West — and also a tale pregnant with grief.
Emma is able to seamlessly adapt the Jane Austen novel with all the nuance and pizzazz that it deserves.
Dark Waters is poignant, infuriating, and anxiety-inducing in the best possible way, and serves as a reminder of the importance of compassion and responsibility — now more than ever.
With Never Rarely Sometimes Always, Eliza Hittman has crafted an important piece of cinema, which demands a lot from its audience, but also has an enormous amount to give back.
The Dead Don’t Die was a huge disappointment with too many plotlines and characters for both the dead and undead to handle.
With a premise filled with potential and talent both in front of and behind the screen, Captive State is an unfortunate disappointment.
Greta is an acquired taste that will frustrate some viewers while others will revel in its campy absurdities.
On the Basis of Sex is not likely to plant the seed of determination in the next RBG, as they don’t need pop feminist representations of even the most laudable of figures.
Mary Queen of Scots has no shortage of talent in front of the camera to make it one of this year’s most overlooked but satisfactory films.
The Little Stranger is a demanding but absorbing thriller – it will not spoon feed you scares, and it’s all the better for it.
Pope Francis: A Man of His Word is a solidly crafted portrait of the Pope with the occasional breathtaking moment, but lacking any new information.