With a stellar cast, tight filmmaking, and a setup and payoff that are equal parts hilarious and tragic, Bodies Bodies Bodies excels at its tonal juggling act.
Apollo 10 1/2: A Space Age Childhood sees Richard Linklater indulge in nostalgia and childhood fantasy, creating a warmth to which anyone of any age can connect.
The Unbearable Weight of Massive Talent celebrates Nicolas Cage’s legacy with a funny, clever romp that both leans into and toys around with his sensibilities.
Spectacular, unapologetically crazy, and disarmingly moving, Everything Everywhere All at Once is a triumph unlike anything else moviegoers can find right now.
After Yang sees writer/director/editor Kogonada present a singularly uncanny examination of human connections, memory, and the need to preserve them.
No Exit brings no innovative concepts to the table, but it succeeds at what it wants to do with fantastic casting and grim, well-crafted suspense.
A Banquet delivers on its slow-burning, disturbing atmosphere and emotion, even if they amount to what feels like an unfinished conclusion.
Subtlety is important in film storytelling, but it’s not always as important as it’s made out to be, nor does a smaller amount of it always devalue a story.
The Woman in the House Across the Street from the Girl in the Window takes all of its emotional momentum, and nullifies it with an absurd, misguided finale.
Beyond the Infinite Two Minutes is a small-scale, hilarious, wonderfully inventive, and laudably precise time travel story.