Come on down for a gen-u-ine American dystopia at the crossroads of end-of-empire and late-stage capitalism. Chloé Zhao’s outsider’s eye is hugely sympathetic but unhindered by knee-jerk patriotism.
Here is the future of Star Wars, one not mired in the narrow threads of the movies’ mythology, but a story that acknowledges that there is a whole big complicated wonderful galaxy to explore.
A simple story about friendship. A revisionist Western reworking fables of masculinity and frontiers. A softly savage deconstruction of the American dream, of capitalism itself. An astonishing movie.
Smart, gritty-stylish indie science fiction that is actually about ideas, and about building a future world that is authentic and lived-in. It has a really memorable teen-girl protagonist, too, who is badass but still a real kid.
An extraordinary semidocumentary drama, beautiful and beautifully accomplished, about dignity, work, and masculinity. Heartbreaking and yet utterly unsentimental, this is one of the best and most important films of the year.
As harshly beautiful as its landscape, this is a stark corrective to the American western it echoes, and a pragmatic confrontation with the deep, tenacious roots of modern racism.
Gina Carano roams a mild yet tedious postapocalyptic wasteland as a bounty hunter, and either you are here for this lady badass of our feminazi dreams, or you are not.
Sure, millions of Native people dead and ancient cultures destroyed, but who has to live with that? All the good soldiers who were just following orders, that’s who. Won’t someone think of the white man?
Behold a modern-day feminist western set in deeply patriarchal Pakistan. Stark and spare, with a heroine full of mean grace, it’s even a true story.
The X-Men series — the entire superhero genre — has never seen a film like Logan before: raw, rageful, tormented, human. Best of the series yet.