United States
The Rape of Recy Taylor is essential and compelling, bringing female heroes of the American Civil Rights movement to the forefront.
Gold Star is a refreshingly intimate first-time film from director Victoria Negri, with a beautiful story about losing a loved one.
There’s a sense of shallowness to Ferdinand, a film so generic and formulaic that it’s hard not to be cynical about its construction.
Future ’38 is a memorable adventure which perfectly reflects our time, as well as reminisces about the films and sensibilities of the past.
The Santa Clause isn’t the festive classic you remember – it’s a soulless comedy that doesn’t even understand the meaning of Christmas.
The Disaster Artist is a painstakingly recreated and, above all, entertaining film about the making of Tommy Wiseau’s cult classic The Room.
The Killing of a Sacred Deer is an exploration of revenge and retribution, with one of the most brutal endings you will ever lay eyes on.
Jumanji: Welcome to the Jungle is a surprising treat, modernizing the original film while also creating a fun, lively action-adventure.
I, Tonya is a refreshingly dark comedy biopic about the famous 1994 Tonya Harding incident, and is laden with incredible performances.
The Pirates of Somalia is a fantastic adaptation of its non-fiction source material, including a commendable performance from Evan Peters.
Roman J. Israel, Esq. may be disappointing after Gilroy’s Nightcrawler, yet it still has a few positives, such as Washington’s performance.
Call Me by Your Name shines for its potency and lyricism, delving with an effortless thrall into the lives of two men who are forever changed.
Mr. Roosevelt is about discovering changes about yourself when confronting your past, poignantly wrought by first-time director Noël Wells.
With verisimilitude, outstanding acting from its central and supporting cast, and sentient multifaceted perspectives, Wonder succeeds.
The Post is less than the sum of its parts; an effectively directed and acted film, but its most dramatic story is left in the margins.