From Ad Astra to Us, we celebrate the cream of the cinematic crop in 2019.
Clint Eastwood’s latest tests the limits of perception, even as it loses the script with its portrayal of the media.
Melina Matsoukas’ vivid debut makes a Bonnie & Clyde story out of the dangers of being black in America.
Elizabeth Banks revives the girl-power action franchise with new blood and a solid if formulaic actioner.
If you can’t use your eyes to see, you might as well roll them at Apple TV+’s hokey dystopian drama.
Takashi Miike’s gazillionth film is a riotous yakuza caper that traffics in the filmmaker’s impeccable balance of extremes.
Alejandro Landes’ tense, probing portrait of child soldiers keeps its messages as muddy as its setting.
Johannes Roberts’ sequel to 2017’s stripped-down aquatic thriller is packed to the gills with sharktastic mayhem.
It’s a little Sundance-y, but Tyler Wilson and Michael Schwarz craft a smart, balanced indie that avoids the usual pitfalls of the way movies tend to treat disability.
The latest adaptation of a Roberto Saviano novel is a familiar, but inventive crime drama.
Kumail Nanjiani and Dave Bautista are their typical superlative selves, which just barely saves an otherwise tedious high-concept cop comedy
Jim Gaffigan’s hangdog performance and an unexpectedly nuanced script elevate a stock comedy scenario into something genuinely thoughtful.
Dennis Do’s lushly animated recounting of the Khmer Rouge takeover of Cambodia is striking but lacks much-needed specificity.
Antoine Fuqua’s HBO doc about the greatest fighter of all time is an intriguing, if uneven, dive into the man behind the myth.
Chinese auteur Jia Zhangke returns to long-form storytelling with this feature-length tale of the twisted romance between a gangster and his moll.