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Joyful and rowdy, self-deprecating and vulnerable, absolutely electrifying as it deconstructs the sex-drugs-and-rock’n’-roll story. Taron Egerton is chills-inducingly good. Sheer cinematic magic.
Two very different films, replete with emotionally engaging performances, examine the impact of the American death penalty from the large-scale legal and political to that of intimate personal grief.
This infuriatingly reductive biopic of the Hobbit author renders him as stolid and dull, and removes all the mystery and the wonder from creative inspiration. Literal-minded and free of magic.
There’s a lot of hot-button stuff going on in this A-bomb spy drama — politics, sexism, scientific ethics — but it’s all surprisingly inert, given the literal fate-of-the-world stakes.
Not only a portrait of the woman who made more than a thousand of the very first films, but a mystery detective story about how the achievements of a trailblazing woman were erased, and found again.
Shireen Seno’s portrait of a remarkably imaginative and self-contained child at a specifically 1980s Filipino moment is full of both charming whimsy and a delicately observed, melancholy universality.
Like Drunk History but sober, a lively, arch, dryly comedic corrective to the traditional, heteronormative, patriarchal image of Emily Dickinson. Incredibly audacious and utterly delightful.
Stunning photography — perhaps the last time anyone will haul IMAX cameras into the Amazon — a bit of adventure, and a solid, simple, inspirational science lesson. Everything an IMAX doc should be.
A quite literally cartoonishly awful protagonist, a plot that makes no sense, lowbrow humor, and terrible gender dynamics add up to an unpleasant retro mess.
Elegant but dull, and so subtle it’s downright diffuse. If you don’t know much about Rudolf Nureyev going in, you won’t know much coming out, either. Weirdly, it doesn’t even feature much dancing.
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