Harris Dickinson
Babygirl’s depictions of kink, while surface-level can ultimately be read as an intricate and compelling portrait of powerplay as direction.
A high-powered CEO puts her career and family on the line when she begins a torrid affair with a much younger intern, in Babygirl.
Durkin’s moving, muscular tale will astound and captivate you, and is unlikely to leave a dry eye in the house. The Iron Claw is a spectacular triumph.
On some level, it feels like a cinematic equivalent of the anti-establishment political cartoons that were once so pervasive in cultural discourse.
A cruise for the super-rich sinks, leaving survivors, including a fashion model celebrity couple, trapped on an island.
At its core, Where the Crawdads Sing is an examination of abandonment and loneliness, as well as survival within the unrelenting naturalist circle of life.
A woman who raised herself in the marshes of the deep South becomes a suspect in the murder of a man she was once involved with.
Combined with Vaughn’s ability, there’s a genuine surprise to this entry that may make this the best of the series.
While director Xavier Dolan and the film’s characters say goodbye to their twenties, Matthias et Maxime itself leaves much to be desired.
The Darkest Minds brings some potentially daring concepts, but builds them to nothing, with not even its action scenes being a saving grace.
Beach Rats may have a lot of superficial similarities with Moonlight, but director Eliza Hittman’s film is a triumph in its own right.