A well intentioned and certainly entertaining crowd pleaser, Green Book belongs to the same cinematic pedigree as films like Driving Miss Daisy, The Help, and The Blind Side; movies where a white person and a black person will reach a common form of human understanding during times of racial segregation or hardship.
A predictable, but well executed and paced procedural thriller, Taiwanese director Ching Shen Chuang’s High Flash balances genre conventions with a healthy and relevant dose of political and environmental subtext.
Never blurring the line between reality and fiction, but instead poignantly and thoughtfully considering where that division exists, Shehrezad Maher’s documentary This Shaking Keeps Me Steady examines how recreations of tragedies could never approximate the immediacy of an emergency.
An opulent, but overblown and exhausting Indian blockbuster arriving just in time to kick off the Diwali movie season, Thugs of Hindostan wants to be a swashbuckling epic that’s part pirate movie, part con-man caper flick and part war film.
Boy Erased, the second directorial effort from actor and writer Joel Edgerton, takes an uncomfortable and wholly moving look at a young man, full of doubt, who’s sent to an unspeakably awful place to “recover.”
A chilling, innovative, and sometimes darkly comedic look at the rise of modern day fears and the scars of fascism, Christian Petzold’s Transit takes a premise that has been mined in the past with tasteless results and turns it into something immediate and important.
The Bill Murray Stories: Life Lessons Learned from a Mythical Man takes a jocular, but unnecessary and one-sided look into the cult of personality that has been built around one of Hollywood’s most elusive and beloved stars.
An examination into the life and career of Jacques Mayol, Lefteris Charitos’ documentary Dolphin Man seeks to do for freediving what Free Solo did for rock and mountain climbing.
A fitting and charming animated retelling of one of author Theodor Geisel’s most beloved children’s books, Dr. Seuss’ The Grinch won’t unseat the 1966 television special as the best take on the material, but it will sure wash out the aftertaste of the Ron Howard/Jim Carrey live action version that rubbed many the wrong way.
Bodied, director Joseph Kahn’s predominantly comedic deep dive into the world of battle rap and how the art form stands as a reflection of any number of societal hypocrisies is a swaggering, in-your-face, button pushing, purposefully triggering bit of bawdiness delivered from a surprisingly academic perspective.