Guillermo del Toro’s dream project has been in the works for nearly two decades, which shows in its incredible craftsmanship. If only the story got the same attention.

Radu Jude’s follow-up to Do Not Expect Too Much from the End of the World is overkill in every way and equal parts boring and insane, yet also something you should watch at least part of.

The latest Adams family folk horror story is more focused on a dark, poetic tone than traditional scares, with its own cinematic language offering a unique dialect of contemporary horror.

It’s odd how dry a documentary this is about the pioneering Afro-futurist jazz musician and band leader Sun Ra, a guy who claimed to be from Saturn.

A smaller, tighter chamber drama compared to some of his most recent works, Yorgos Lanthimos’ latest is a poignant addition to the recent wave of “late-stage capitalism” cinema.

Shot locally in Chicagoland, Nurzhamal Karamoldoeva’s narrative debut is an eye-opening journey into Chicago’s growing Kyrgyz immigrant community.

In Nia DaCosta’s remix of a classic Ibsen play, Tessa Thompson is deliciously wicked as the titular character throwing a Gatsby-level party of decadence and decay.

As a collection of images, Clint Bentley’s adaptation of the beloved Denis Johnson novella is a sight to behold—but that takes it only so far.

Edward Berger’s excessive directing style and a brilliant Colin Farrell performance elevate what would otherwise be a mediocre algorithm movie into a mostly fun ride.

Set in early 18th-century Venice, Damiano Michieletto’s directorial debut features a young orphaned violinist as the pupil of composer Antonio Vivaldi.

Ratchapoom Boonbunchachoke’s latest film is perhaps a little long and overstuffed with ideas, but also like nothing you’ve ever seen before.

Jafar Panahi’s Palme d’Or-winner explores the morality of revenge, the bonds of trauma, and the thin line between imprisonment and life in an oppressive society.

Author Tove Jansson was best known for her Moomin children’s books, but it’s her acclaimed novel that’s been turned into a feature film—and a lovely one at that.

In Kathryn Bigelow’s new subversive thriller, a who’s who of notable character actors try to prevent a nuclear warhead from blowing up Chicago.

All the elements were there for Daniel Day-Lewis’s first post-“retirement” film to succeed, but instead it falters with a thin premise.

Benny Safdie’s solo directorial debut starring Dwayne “The Rock” Johnson might not be a totally cohesive moviegoing experience, yet I can’t stop thinking about it.

Paul Thomas Anderson’s latest film is an entertaining journey packed with ideas that could only be conceived by one of our greatest filmmakers.

Francis Lawrence’s dystopian horror film is a thrilling and devastating depiction of young men broken down by a fascist system trying to find the will to go on.

It’s odd how stars like Austin Butler and Zoë Kravitz can make a meal out of this warmed-over genre film while its iconic boundary-pushing director hardly seems present.

There’s just something nice about having an adult-oriented comedy with broad appeal in theaters again.