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It exists safely within the vast subgenre of postcollapse afterscapes, but it does what it does well, with nicely drawn characters, a sense of cultural mythmaking, and freakishly unsettling creatures.
A travesty of corporate cynicism. Its desperation to ride Spider-Man’s coattails is pathetic, but its convoluted, coincidence-laden nonsense is duller than you’d imagine: it’s not even so bad it’s fun.
A pall of dread, of terrible suspense, hangs over this powerfully empathetic drama about what it means to be a Black man navigating a racist world. Beautifully performed and structurally intriguing.
The filmmaking craft may be (mostly) astonishing. But the craft must always — always — be in aid of a compelling story populated by compelling characters… and that’s not so much the case here.
Poignant, pointed drama about a teenage Ukrainian gymnast fuses the personal and the political in a portrait of the spirit of Ukraine that is now being tested in the worst way. Incredibly affecting.
Impossibly, heartbreakingly poignant, rooted in tough emotion and hard realities. A deeply humane movie that makes an unspoken, effortless plea for compassion for refugees’ distress and desperation.
The deep, honest emotion undercutting the performative toxic masculinity of these young men is beyond charming and vitally essential, but the melodramatic randomness of the plot ultimately lost me.
Quietly chilling. A condemnation of supposed propriety over genuine decency, and the sacrifice of children to the illusion of communal cohesion. There are no easy answers here, and no pat resolutions.
Pure joy. It is singing and dancing, life and love, food and family, heritage and community in all its complexity. Harnesses Golden Age Hollywood verve and style in breathtaking, enrapturing ways.
An extraordinary cinematic experience that immerses us into the personal landscapes of profoundly autistic, nonverbal young people. The empathy it engenders is deeply felt and enormously eye-opening.
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