Jafar Panahi’s Palme d’Or-winner is not just a masterpiece from a filmmaker seemingly liberated, but a vital testament to the power of remaining decent in a world that’s increasingly anything but.

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. 

In Spike Lee’s inconsistent reimagining of Akira Kurosawa’s classic High and Low, Denzel Washington stars as an aging record executive facing a $17.5 million moral dilemma.

Samuel Van Grinsven’s stripped-down ghost story takes intriguing risks but also settles for muted horror thriller cliches.

The debut book from content creator and physical media evangelist Jeff Rauseo argues against the streaming-centered status quo.

With its dark humor, intense scares, and playful plot structure, writer/director Zach Cregger’s Barbarian follow-up is the most fun I’ve had at the movies this year.

Olivier Assayas’s metafictional meditation on his COVID quarantine experience only hints at something richer.

Documentarian Victor Kossakovsky films cement production and a natural landslide with similar amazement while pushing the boundaries of drone videography.

Is Michael Winterbottom’s new film a BBC-esque period piece? A gripping spy thriller? A star-crossed love story? Who knows—the movie certainly doesn’t.

The long-awaited entrance of Marvel’s “first family” into the MCU attempts to revive the Marvel brand and bring fans back, with mixed results.

There’s a winking, Gen-Z tone to this legacyquel that never fully descends into parody, but also makes sure the audience gets plenty of laughs and hook/harpoon-related mutilation.

In Ari Aster’s new COVID-era, hysteria-western Eddington, cell phones have overtaken shootouts as the primary mechanism of frontier justice.

Overwritten and under-executed, James Gunn’s Superman is yet another entangled, CGI superhero slop fest disguised as something meaningful.