Anna Wiener's Silicon Valley memoir, Uncanny Valley, reveals a piratical industry choking on its own hubris and blind to the cost of its destruction.
Anxiety about institutions' ability to provide security is at the root of a strong crop of nonfiction short subjects, which range from South Korea to Sweden, the suburbs of California to the city of St. Louis, in The 2020 Oscar-Nominated Short Films: Documentary.
The Safdie Brothers' nervy ball of tension, #PMPick Uncut Gems, sends a hustler blasting recklessly through a city where everybody is on the make.
Damon Lindelof's over-plotted, over-anxious, daring, genre-hopping offshoot of Alan Moore's alternate-history graphic novel, Watchmen, is less a show about hunting down the bad guys than it is about the twisted turns and stubborn legacies of racist trauma in America -- and the resistance to atoning for it.
Cynthia Erivo's transcendent turn as Union spy, escaped slave, and Underground Railroad conductor Harriet Tubman shines through Kasi Lemmons' heroic but oversimplified biopic, Harriet.
In Robert Eggers' brutal but lyrical 19th century horror show, The Lighthouse, there is a lot of David Lynch in the looming soundtrack and the steam-powered, proto-industrial feel in the scenes of tending the lighthouse machinery.
Oren Jacoby's richly illustrated documentary on the ups and downs of modern Broadway, On Broadway, is all celebrations and no questions. Whether that's a problem depends on your level of theater mania.
Loony anti-colonialist Brazilian satire Bacurau doesn't always balance its humor with its bite, but its communitarian soul, oddball wit, and dark vision of the future still hits home.
Gavin Hood's thriller about British whistleblower Katharine Gun's attempt to stop the Iraq War, Official Secrets, is nothing special artistically, but its intense relevance burns the screen.
Starting as a personal look at the damages wrought by decades of China's one-child policy, One Child Nation exposes a deeper, baser level of national corruption.