Even though The Boy and the Heron’s style and structure are reminiscent of Miyazaki’s best works, the film still feels somewhat hollow.

Andrew Haigh’s All of Us Strangers is a devastating, profound look at how we desperately hold onto the people and memories that link us to our pasts.

Although Strange Way of Life is not Almodóvar’s most affecting work, viewers can expect a tender moment or two to make it worthwhile.

Foe completely wastes its semi-interesting concept and two steady performances.

Mob Land‘s aim is seemingly to give audiences a Deep Southern neo-noir heist thriller, and it just about does so, but without any distinction.

As every component of Anderson’s films become more and more distilled, as he gets better at the very specific thing he does, his films feel more and more alien within the landscape of cinema — at least to those yet uninitiated to his films.

Despite its stellar cast, Maggie Moore(s) is unfortunately as bland as Hamm’s brown small town police uniform

Georgia Oakley’s Blue Jean is a complex look at gay life in late 1980s Britain, specifically under the conservative tide caused by Margaret Thatcher’s homophobic policies.

In addition to being entertaining, absorbing, and thought-provoking, Sanctuary is also rather audacious.