United States
Partly autobiographical, Counting for Thunder is a film that sometimes works, but mostly fails in its attempt to blend both drama and comedy.
The Other Half is a balanced portrait of not only a tangible and tender romance, but of a subject so little-seen in film; mental illness.
I Called Him Morgan is a riveting look at jazz trumpeter Lee Morgan, examining his life, his music, and his impact on those who knew him.
Colossal is a fantasy-oriented film about a kaiju monster that somehow manages to be both emotionally effective and profound.
Losing Sight of Shore is an inspiring and empowering documentary about four women who crossed the Pacific Ocean in a rowboat.
Unforgettable is an attempt at a provocative erotic thriller, but it relies on overused tropes and cheap parlor tricks to get it done,
The Lost City of Z is a work about a British explorer that triumphs in visual splendor, forming an identity as a meditative outlook on life.
Though Rules Don’t Apply is beautifully shot and contains a tender romance, the two stories of the film collide, making it an uneven venture.
A documentary about the famous murder case, Casting JonBenet combines interviews with reenacted footage in an unconventionally effective way.
Overstuffed, generic, and with poorly executed CGI action, The Fate of the Furious is nothing more than another franchise crowd-pleaser.
While The Promise has lofty aspirations and a flimsy base, it proves too thin and drab to be truly gripping.
The Discovery dabbles in too many genres and never makes a compelling case for any of them, resulting in yet another lackluster Netflix film.
Blue Jay weaves in and out of beautifully written scenes, with a minimalist visual style focusing solely on the performances and the interactions.
With The Devil’s Candy, provocative Australian director Sean Byrne proves he is one of the best genre filmmakers working today.
Otto Bell’s documentary The Eagle Huntress is empowering – even if it does frequently feel staged or exaggerated for dramatic effect.