As a filmmaker, octogenarian Sir Ridley Scott has opted toward the bombastic: spectacle-laced CGI effect showcases, attempting epic sweep with a fulcrum of bombardment.

Sean Baker’s pronounced humanism is one of his strongest superpowers as a director. Whether they are trans sex workers (Tangerine), young children living in a motel (The Florida Project), or con artists new to town (Red Rocket), his generosity with his characters always shines.

Instead of an organic sense of nostalgia, Here lands more like a sappy greeting card: visually appealing but hollow.

Conclave is a brilliant example of slow-burn, understated storytelling that works.

The title refers to a singular fluid, but there are actually a great many other substances at play.

Tuesday manages to poke and prod at the fragile tendrils of a topic laden with countless taboos and cultural beliefs.

Dune: Part Two seems intent on convincing us that explosions are the same thing as plot.

A masterwork that stands head and shoulders above Nolan’s already-impressive past catalogue.

Asteroid City is as flat and unremarkable as its surrounding landscape.

Like a detailed treatise on the Holocaust, summarizing it as a great example in character building.

Time and again, Aftersun teases a large reveal only to end up in the most boring of all possible endings.

Triangle of Sadness pulls you into its world with the ease of a master hypnotist.