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Ten years of Marvel superheroism culminates in a battle for the universe itself. Exhausting, bitterly humorous, and gripped in a stunning finality, it’s almost too much to take in, yet somehow not enough.
Electrifying and genre-busting, this romantic mystery thriller toys with our expectations and plays with ambiguity. Jessie Buckley and Johnny Flynn are mesmerizing separately and explosive together.
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.
Juliette Binoche’s search for midlife love is drenched in ennui and punctuated by weary philosophizing. There’s not a lot of satisfaction in it, nor much by way of resolution. Very French.
A wonderfully old-fashioned tearjerker, with a thoroughly delightful cast, where cosy quaint Englishness is leavened by a harsh reality of World War II that pop culture has ignored.
It’s not as daring as its endearing protagonist, and its fantastical scenario plays out rather lifelessly. But its gentle exploration of the fluidity of human physical and emotional expression is very welcome.
This is scorched-earth cinema that challenges us to find moments of grace and triumph among misery, cruelty, and emotional frugality. Maxine Peake is absolutely incendiary.
A same-old story of a white man’s angst, set against the “exotic” backdrop of 1980s war-torn Beirut. This brand of Hollywood myopia is tired, uninteresting, and no longer acceptable.
The science is ludicrous, the story is almost entirely free of drama, and the finale descends into the hoariest, most ridiculous clichés of the genre. But the future smart-house porn is lovely.
Raises the bar on big dumb fun, with The Rock’s social-justice-warrior badass and his genuinely charming relationship with a gorilla, plus a ton of goofball sci-fi monster action turned up to 11.
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