Monumental. Villeneuve tells a familiar story with uncommon elegance and pensiveness, even dreaminess, on a breathtaking scale. A stunningly gorgeous, supremely dignified movie about ugly things.
Spanks the 2016 film and sends it off to the corner to think about what it did. This one is the definite article: Gory, grim, bleakly funny. Full of feverish, anarchic energy and exhausting cynicism.
Two new documentaries — one a shrewdly incisive work of journalism, the other a delicately elegant tale of injustice and friendship — tell all-but-forgotten histories of Black America. Of America.
“Hunger Ward,” an unvarnished vérité look at starving Yemeni children and the medics trying to save them, best encapsulates the human experience of pain and resilience that all the nominees embody.
An electrifying philosophical fantasia that imagines four towering figures of 1960s America arguing over how to navigate racism as Black men. Enraging, but also thrilling, bursting with cinematic joy.
A deep dive into US evangelical Christians teaming up with Israeli charities in an absolutely terrifying unholy alliance that has geopolitical implications that should worry everyone, believer or not.
This zingy satire is so perfectly, beautifully Jon Stewart: big and brash, raging with fury at the state of American politics but also underlain with hope that it might be changed for the better.
The story of the women duped into *checks notes* killing Kim Jong-un’s brother is more bonkers — and sad, and gripping — than we’ve heard. Utterly fascinating; the stuff of a Hollywood thriller.
Beautiful in its style, enraging in its substance, this skewering of the FBI’s surveillance of the civil-rights icon is essential for understanding the near-term roots of white supremacy in America.
Finds something fresh and gently feminist in the tropes and claptrap of an overbaked genre. Stewart and Davis have terrific chemistry, and the supporting cast of modern legends of funny is to die for.