Aquaman by Pat Brown 1.5 Often divertingly colorful and busy to a fault, Aquaman seems to dare us to mock the world of comics' most risible superhero.
Mary Poppins Returns 2.0 by Derek Smith For all of its slavish devotion to Mary Poppins, the sequel doesn't even seem to recognize its greatest attribute: its star.
Cold War 3.0 by Sam C. Mac It’s the precise calibration of narrative minimalism and aesthetic elementalism that makes Cold War so striking.
Bird Box 2.5 by Chris Barsanti It's an imagination-starved redo of The Happening crossbred with a more malevolent strain of zombie-flick DNA.
Spider-Man: Into the Spider-Verse 3.0 by Jake Cole With its fine-tuned comic timing and feeling of constant action, Spider-Man: Into the Spider-Verse is downright invigorating.
The 25 Best Films of 2018 by Staff This year, films were emboldened to be themselves and to follow their creators' obsessions into increasingly wild-and-wooly places.Read More
Alice Rohrwacher on Happy as Lazzaro and the Past in the Present Tense by Marshall Shaffer Rohrwacher discusses why she needed to make this film at this moment.Read More
If Beale Street Could Talk by Keith Uhlich If Beale Street Could Talk is at its most potent in the scenes where human frailty and the specter of injustice come more elliptically to the surface.
The Mule by Carson Lund The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream.
The House That Jack Built by Sam C. Mac Lars von Trier’s The House That Jack Built is a consideration of how to respond to art without the boundaries of morality and reason.
Mortal Engines by Chris Barsanti After a while, it all starts to feel like a showreel for the film’s special-effects team than an honest effort to tell a story.
Capernaum by Diego Semerene Zain Al Rafeea's naturalness, however uncanny, only makes the film's maneuverings seem all the more obvious.
Never-Ending Man: Hayao Miyazaki by Keith Watson Kaku Arakawa's documentary is a candid snapshot of a great artist as an old man.
Dead Souls by Sam C. Mac Wang Bing’s colossal documentary is an incisive reappropriation of collectivist solidarity.
The Quake by Pat Brown The film's drawn-out boy-who-cried-wolf arc creates little opportunity for the main character to develop.
Mary Queen of Scots by Derek Smith All the palace intrigue and endless backstabbing in Mary Queen of Scots feels at once overly familiar and underdeveloped.
Ben Is Back by Paul O'Callaghan Ben Is Back is more unpredictable and slyly entertaining than its earnest-sounding premise might suggest.
