United States
Between a disorganized format, poor storytelling choices, and novice performances, we condemn 47 Meters Down: Uncaged to the chum bucket.
Living up to its eccentricity and lyrical presence, Every Time I Die extensively utilizes its piercing score and shadowy effects.
Predictable to a fault, Ready or Not is still engaging, edge-of-your seat entertainment that brings just enough gore coupled with humor.
The losers are as compelling as before, Chapter Two successfully binds this group to its former to give fans a nuanced end.
Give Me Liberty evokes a sense of timelessness and universality that permeates through every element of the film.
Thankfully, strong cast and fan following go along way to make Angel Has Fallen enjoyable despite its director’s shortcomings.
The Death of Dick Long might easily be the most bizarre film of the year, but it’s also one of the funniest.
Burn is a stand-off between undeniable indie individualism and psycho-thriller, without a true path.
The Fanatic, directed by Fred Durst and starring John Travolta and Devon Sawa, is campy, a bit ill-spirited at times, but I still couldn’t turn it off.
Dark and gritty, Joker is a pressure cooker of emotional abuse that is just ticking, ready to blow at every minute.
While Ad Astra is no doubt visually stimulating, ultimately Gray’s film is a meandering lifeless existential entity that overly emphasises on simplicity.
Where’d You Go, Bernadette feels remarkably lacking in passion from those involved, save Cate Blanchett.
Sadly, Ecco fails to deliver good writing and a visual instinct to its audience, loosing trust and the ability to keep them interested.
It’s absurd and outrageous, and although sometimes that doesn’t work in favor of the jokes, Good Boys triumphs as a sweet coming-of-age story.
At once a period piece and a coming-of-age odyssey wrapped around a bizarre narrative about an antiquated medical treatment, The Mountain is Alverson’s finest film.