The Canadian produced dystopian action-adventure SuperGrid doesn’t have a huge budget or many clever or original ideas, but it’s a breezily efficient romp just the same.
A quietly mournful and gently celebratory look at a boisterous, but underrated personality, Ethan Hawke’s biopic Blaze is a humane approach to creating iconography organically and empathetically.
A gorgeously produced, exceptionally performed, and uniquely feminist costume drama Mary Queen of Scots pits two of the best working actresses today against one another and everyone around them for a surprisingly entertaining, but historically dicey biopic.
Although it might be misread by some as a crowd goosing melodrama, Peter Hedges’ Ben is Back is a moving and often painfully realistic depiction of a family coping with the addiction issues of a loved one that feels like a vital and gut-wrenching piece of cinema tailor made for the current opioid crisis.
Norwegian disaster movie sequel The Quake feels every bit as passably entertaining, threadbare, and unnecessary as its bigger budgeted American and Asian counterparts.
A soulless cavalcade of empty spectacle and cacophonous noise, Mortal Engines is one of the dullest, least involving, hollow, and crass attempts at franchise filmmaking ever attempted.
While The Mule won’t go down as aging auteur Clint Eastwood’s best outing as a director, it will assuredly be remembered as one of his most interesting and daring roles as an actor.
The House That Jack Built, the latest film from controversial Danish auteur Lars von Trier, isn’t so much a motion picture as it’s a confrontational, baffling, effort ridden, messy, and somewhat pitiful cry for help and forgiveness from the person who created it.
No, the world doesn’t need a PG-13 version of Deadpool.
Spider-Man: Into the Spider-Verse is nothing shy of brilliant; the only truly unmissable blockbuster of the holiday movie season.