Nat Faxon and Jim Rash's comedy, Downhill, paints in broad strokes and peaks early, never matching the clever satire of its source material, Force Majeure.
Set in 18th century France, Céline Sciamma's Portrait of a Lady on Fire applies ravishing historical details to the timeless poetry of forbidden love.
André Aciman's long-awaited sequel to Call Me By Your Name, Find Me, isn't so much an extension of the previous book's queries about romance and sexuality as it is a work of convenient revisionism.
South Korean director Bong Joon-ho’s latest film, Parasite, combines the epic class warfare of Snowpiercer with the zany activism of Okja, resulting in a brilliant, many-layered exploration of social stratification and capitalism.
Veteran Spanish director Pedro Almodóvar's pointedly autobiographical film, Pain and Glory, reflects on the power of art in shaping a life and legacy.
Jia Tolentino's first collection of essays, Trick Mirror, expertly navigates how the byproducts of capitalism and the Internet permeate culture, values, politics, and the daily lives of people worldwide.
The legendary director's hotly anticipated ninth film, Once Upon a time... in Hollywood, applies his trademark wit to '60s Hollywood, but ultimately it's an oddly conservative machismo, not inventive filmmaking, that shines through.
Colson Whiteheads' The Nickle Boys fictionalizes the true story of a Florida prison for boys in the 1960s, further exploring America's furtive legacy of racist violence.
With The Dead Don't Die, Jim Jarmusch deliberately deprives his latest film of the propulsive terrors innate to most zombie films, instead using the genre to matter-of-factly rhapsodize about consumer culture and the inevitability of the apocalypse.
Director Joanna Hogg sheds nuanced light on a dysfunctional relationship similar to one of her own in The Souvenir.
With his second collection of short stories, Exhalation, master of existential science fiction Ted Chiang explores AI, time travel, and alternate realities with the studious eye of an anthropologist.
The first five episodes of The Twilight Zone (2019-) developed by Jordan Peele, Simon Kinberg and Marco Ramirez, vary wildly in quality, but even the best of the bunch lack nuance and bite.
The Irish novelist Sally Rooney centers her drama, Normal People, around the desperations of youth under late-capitalism, but the novel's psychological excavations, nuanced and piercing, owe just as much to the influence of Jane Austen and Virginia Woolf.
Director Alex Ross Perry, a master of acidic comedy, continues his stellar partnership with Elisabeth Moss in Her Smell, a fast-burning rock drama that takes place mostly behind-the-scenes.
High Life is more a series of tensions and breaking points than it is a traditionally satisfying space narrative, but Denis's allegiance to directors like Tarkovsky and Kubrick offers an intriguing view of humanity at the gates of the final frontier.
By satirizing the French literary intelligentsia, Assayas' Non-Fiction (Doubles vie) chronicles the hypocrisies of the modern psyche without attaching itself to any particular worldview.
The budding auteur's follow up to Get Out, Us, is murkier than its predecessor but features a treasure trove of potent references to keep its ambitious premise afloat.
Sebastián Lelio's fascination with womanhood and desire have culminated in Gloria Bell, with actor Julianne Moore tailor-made to its particular kind of searching melancholy.
Their brilliant show may be ending, but the future looks bright for Abbi Jacobson and Ilana Glazer, who've already amassed several non-Broad City credits each.
Starring Rebel Wilson, the half rom-com, half satire Isn't It Romantic has a hypocritical message, but its self-mocking charms work well.