Director Craig Brewer helms his breezy tribute to Rudy Ray Moore, the '70s Blaxploitation icon who influenced an entire generation of young Black performers, with Dolemite Is My Name.
Director Robert Eggers' emotional powerhouse, The Lighthouse, is a profound allegorical reminder that no man is an island.
Tarantino's latest, Once Upon a Time.. in Hollywood, is a breezy, top-down-on-the-convertible kind of film that wows you with its surprising sweetness before punching you with a bloody fist.
If director Riley Stearns sometimes loses his thematic bearings, he never forgets to deliver large, violent doses of comedy in the instant cult classic, The Art of Self-Defense.
Director Ari Aster's uncompromising artistic vision in Midsommar creates a singular viewing experience of horror, beauty, and bafflement.
Calling the plot of Godzilla: King of the Monsters stale would be an insult to the fossilized potato chips hiding between your sofa cushions.
In existential nightmare, High Life, Claire Denis explores the darkest intersection between outer space and the human psyche.
For those curious about what awaits them on the other side of youth, writer-director Sebastián Lelio's indie drama Gloria Bell offers an unflinching glimpse at some unforgiving terrain.
Unlike justice, love has not abandoned the protagonists in Barry Jenkins' adaptation of James Baldwin's' If Beale Street Could Talk.
Director Yorgos Lanthimos provides plenty of his trademark absurdity, but The Favourite is his most accessible, painfully human film to date.
Peter Farrelly's first foray into drama, Green Book, is simplistic in its message for examining racism, but maybe that simplicity serves as the sugar coating the pill that many current Americans need to swallow.
Steve McQueen's heist caper, Widows, is ultra-slick but gets sidetracked by its goofy plot twists. No matter; Viola Davis and Elizabeth Debicki's performances make for a satisfying experience.
Director Joel Edgerton's well-intentioned drama about gay conversion therapy fails to deliver any new insight or even a good cry.
Documentarian Matthew Heineman's debut feature is an inspiring tribute to war correspondent Marie Colvin, who dedicated her life to documenting the human cost of war.