Grim, mysterious, and unsettling, never more so than when it is quiet and still. But a brutality lurks below its calm, slick surface. Oscar Isaac’s performance is a work of astonishing minimalism.
Tragic anti-romance uses cinematic conventions and the presumptions of fiction to disorient us. Bursts the bubble of a certain kind of movie delusion to highlight a harsh reality of women’s lives.
A marvel of a sequel that smartly avoids any attempt to recapture the original, instead expanding its world in every way possible. Brisk, crisp, efficient, and full of masterful sequences of suspense.
A work of breathtaking audacity. This is as perilous as comedy gets, and it’s very, very funny, often shockingly so. Sacha Baron Cohen’s scathing cultural strikes land like extinction-level asteroids.
I’m obsessed with this British miniseries following one family through a dystopian 2020s. It’s completely harrowing, very nearly soul-crushing. Yet I cling to its tenuous optimism and profound beauty.
The chill zen and goofy charm of GenX’s philosopher-fools remains intact, but their latest adventure is too familiar a retelling. Still, “Be excellent to each other” won’t ever not be worth heeding.
Mundanity builds to almost unbearable tension, but this isn’t an action movie. It’s a drama grounded in emotional realism thanks to the Joseph Gordon-Levitt’s intense empathy and vulnerable humanity.
Brutal, necessary watch for all who want to understand why America operates with impunity re its horrendous treatment of Black people. Incisive and shocking, moreso now than when it debuted in 2016.
Bland, predictable cop and crime clichés lacking all urgency and any of the claustrophobia that should come from its high-concept premise. Shutting down Manhattan has zero impact on anything here.
Not a spy thriller but a story of emotional and intellectual suspense wrangling with matters of patriotism and of conscience, and of just how far journalism’s watchdog role can and should take it.