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In an intimate yet shattering documentary, Black British activist Femi Nylander searches for “the imperial history they didn’t teach at school,” and finds it. Heartbreaking, provocative, illuminating.
Maxine Peake is stupendous in this deliciously audacious period horror, ambitious in emotional scope and with monsters who feel unexpectedly modern: men who wield religion as a tool of oppression.
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.
Wild sass, gentle comedy, shivs of poignancy, and instantly vivid characters add up to a wonderful riff on mob movies as a Chinatown granny faces off against gangsters. Tsai Chin is an absolute hoot.
A laugh-until-you-cry dramedy burlesque, brilliantly structured and horrifically compelling, about the endless grift that passes for an economy in America. Hugh Jackman is at the peak of his powers.
French New Wave icon Jean Seberg plays an unwitting game of cat-and-mouse with the FBI in a strangled blend of biopic and paranoid thriller. Not even always fascinating Kristen Stewart can save this.
Body-horror SF via Lovecraftian grotesquerie, with a now tedious rampage from Nic Cage. As if a man needs to be influenced by unfathomable aliens to turn to violence. I need more from my pulp fiction.
This true origin story of a literal social-justice warrior is earnest, passionate… and exhausting. We need to keep telling these stories, yet each is but another tiny drop of water in a rough ocean.
There is real cinematic tension in this own-worst-enemy tale of addiction and its ever escalating series of bad bets. But Adam Sandler’s unfettered arrogance renders it far from endearing or fun.
An entirely entertaining murder-mystery jape; dryly funny, deliciously retro yet decidedly modern. Whenever you think you’ve got it figured out, it trips you up again… and you love it for doing so.
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