I cannot get angry or feel let down by what Downhill is not (most obviously that it isn’t as deep or as profound as Force Majeure was). I can only judge the film for what it actually is, and on that front I think Faxon and Rash have done a reasonably nice job.

The first narrative feature to be allowed to shoot inside the Olympic Athletes Village, Olympic Dreams is a strong, emotionally-pure indie drama that took my breath away.

Portrait of a Lady on Fire is more than a historical romance. It is more than a feminist drama drawing a metaphorical line from the distant past to the here and now.

1917 is magnificent.

This might not be Victor Hugo’s story, but that doesn’t mean Les Misérables doesn’t still bear the author’s imprint, the ending of this story a mixture of tragedy, compromise, disappointment and, yes, even hope that leaves many questions unanswered and the future for all involved painfully uncertain.

By challenging audiences to recognize and understand this fact Cretton is adding his voice to the growing chorus attempting to see that this happens, that in and of itself reason enough to give the Just Mercy a look.

This Little Women kept me on my toes, and even though I’ve read Alcott’s novel multiple times and have watched Armstrong’s sublime adaptation on numerous occasions, I still felt like I was experiencing this tale for the first time while watching Gerwig’s film.

There is nothing polite about brothers Benny Safdie and Josh Safdie’s newest hyper-adrenalized ticking clock drama Uncut Gems.

The Aeronauts is a one-of-a-kind achievement, and for that reason alone here’s hoping audiences go give it a look.