Burns has delivered a pulse-pounding procedural I could not resist, and I can’t help but think that audiences of all political persuasions will end up feeling the same just as long as they can put their differences aside in order to give The Report a look.

Last Christmas has the potential to make a lasting imprint with a lot of viewers, and even if my heart wasn’t always into it that doesn’t mean I’m ready to dismiss the film entirely.

Maybe Midway will play better at home, but as far as theatrical experiences covering a pivotal moment in WWII history are concerned Emmerich’s drama fails to hit the target, and I find this disappointing to say the least.

Pain and Glory is one of Almodóvar’s most personal storytelling endeavors. It is also one of his best.

Harriet is more than a dramatic history lesson. It is a piece of filmmaking excellence I am almost certain to revisit, and a film I’m fairly positive I’ll appreciate even more once I have done so.

Waititi balances the horrifying and the hysterical with relative ease.

I admired a lot of what Krauss was attempting, and I certainly think his skills as a filmmaker are beyond reproach. But none of that means I also feel his debut The Kill List is essential, and even if this heinous historical event is worthy of exploration the director already did that back in 2013 with his stunning documentary. I can’t help but feel people should just watch that instead.

I walked out of the promo screening a little angry, disappointed that Taylor’s Black and Blue never lived up to the potential it so deftly showcased for much of its 108-minute running time.

The Lighthouse is one of 2019’s most uniquely satisfying creative endeavors, and even if I’m still not sure what the point of it all is I just as assuredly cannot wait to head back to the theatre and weigh anchor on a second viewing as soon as possible.