Jordan Ruimy

The film is equal parts lovely and frightening as it explores romantic bliss, destructive capitalism, and the significance of the subconscious state we all spend a third of our lives experiencing.

The meaningful topics of female sexual expression, repression, and desire for acceptance that “To the Stars” portrays are relevant, but it’s a shame they’re not more poignant and persuasive.

Talking head interviews from his victims, business and works partners, and friends mesh together with archival photos, videos, and audio recordings of Weinstein for a compulsively watchable, yet not definitive, look at the man whose predatory behavior spearheaded the #MeToo movement.

This is a hearty, four-course meal for film fans, which, once again, demonstrates that the study of a film can be just as invigorating an experience as the actual film itself.

What Western Stars best achieves, a universal notion that will hook fans and non-fans alike, is the shared sense of community displayed in the infectious love shown for playing vital and moving music.

Ultimately, the lack of risk-taking not only makes for a pedantic experience but ironically serves Tubman very poorly, never allowing for Erivo’s performance or the spirit of the subject to ever feel truly free.

Berman ultimately turns his incredible meta-story into an ode to documentary filmmaking. And its exhilarating stuff because you have absolutely no clue where this movie is going to take you next. Berman’s doc keeps pulling the rug from under you, and it’s a high-wire act of reinvention that rewards the viewer at every step.

Although Miller invests heart and soul into the performance, maybe even career-best work from the actress, and the rest of the cast, especially Hendricks, are excellent, Ingelsby’s screenplay foolishly decides to lay its interests on Deb’s terrible taste in men rather than her daughter’s disappearance.

In a film that is so disinterested to conforming to accustomed mainstream movie audiences taste and rhythms, and is committed to its sometimes difficult choices, the bold and exacting Beanpole sometimes feels damn-near radical.

Despite this disappointing effort, Diao continues to impress with the clever use of his camera. Now, one just wishes he could find the substance to pull all this style together in a winning fashion.

All thanks to Herzog’s keen eye at having a continuous fluid flow to the story and his subject’s willingness to lay bare in front of an audience, this is one of the most important documentaries of the year because it still feels fresh and relevant to our times.

Sober, unflinching and fits perfectly with the current political movements such as #MeToo and #TimesUp.

Melancholy in shape, but still hopeful, Crosby’s willingness to bare naked his personal struggles on-camera makes for a truly poignant movie.

Brügger’s movie plays mostly like a real-time thriller, to be honest, but whatever hybrid of non-fiction you want to categorize Cold Case Hammarskjöld, it’s nothing short of groundbreaking.

Beyond Ocasio-Cortez and her magnetism, we may look back at Knock Down the House years from now as a nascent document of the beginnings of a groundswell in American politics.

Luce is a dangerous minefield and simply crackles with the kind of distressing pressure that is beginning to define America in every conversation we have about race, marginalization, social strata, woke politics and even marriage.

Even as an homage The Hole in the Ground feels like business as usual rather imbuing the genre with a much-needed modern edge or new context.

A film that features a few fantastic comedic highlights unfortunately weighed down by a misfired performance from its lead actress. The result is an occasionally funny, inventive, but inconsequential, feature.

Appropriately frosty and aloof, The Lodge is a meditative plumbing of the darkest parts of the human psyche, our vulnerabilities, and self-doubts and it’s these personal fears that resonate loudly.

It’s Wang’s singular gift for life’s simplest moments which makes The Farewell ring so truthfully bare, funny and emotional.

There are no dull moments in this ridiculously brutal, often severely dumb, but enjoyable, film

This is one of the most joyous and exhilarating movies you will see this year and because there is so much passion flowing out from the music, screenplay, and acting, you totally forgive the film when it strays into the predictable and even a little bit of corniness.

Brewer, of course, is the glue that holds the puzzle together. If we didn’t care for her surreal plight, then the film would just not work, but the actress builds a thoroughly believable character in Alice.

The set-up in Free Solo can sometimes be repetitive, as the filmmakers continuously fawn over their subject’s accomplishments in the nerve-racking build-up to the main event. However, the absorbing lure of the movie, the climactic, terror-provoking Yosemite climb itself, is overwhelming and worth the wait.

Feeling stilted and steeped in uninspired biopic tropes, Kelly’s film never comes close to an inventiveness worthy of JT’s imaginative, outrageous story.

Minghella surely knew that what he had here was a familiar story, but despite his gritty and admirable direction it fails to break the traditional formula.

Our Time is gorgeously shot, naturally, and the intentions are well-meaning but far too self-serving.

It’s an uneven film, but a deeply passionate one that also features an A-list actress at the top of her game.