Chandler Levack

While Williams isn’t quite as adept as Cody’s other all-star collaborators, her debut film is funny, cinematic and memorable.

There’s a zaniness to this film that feels refreshing, a going-for-broke energy reminiscent of an Adam Sandler movie at its peak.

This Barbie is a modern movie masterpiece that must be seen to be believed.

At its best points, Sharp Stick functions like a cinematic mixtape of every Taylor Swift song, presenting romantic clichés and immediately pulverizing them into dust. At its worst points, Sharp Stick is a twee, porn-ified Napoleon Dynamite, humiliating the very heroine who we should empathize with the most.

Luckily for us, the flawed but charming Mr. Malcolm’s List has Indian actress Freida Pinto as a winsome romantic lead, finally receiving her flowers in a perfectly matched role.

The first 90 minutes is an audacious shock, petering out with an exceptionally messy and chaotic climax. But while Fresh takes obvious cues from Get Out and Promising Young Woman, it’s something unique, a balm to any singleton that promises to turn you off online dating and red meat forever.

There is something magical in Sorrentino’s tender, flawed familial portrait that risks social taboos. I’d rather watch something beautiful and dumb vying for real emotional truth than the woke-est and most sanitized cinema, which only wants my approval. The Hand of God is a sprawling, gorgeous mess, but one you can’t look away from – and it might just break your heart.

The final shot is one of the most poignant images I’ve ever seen.

The coolest-looking movie of the year is surprisingly lame.

While the film first regales us in sightseeing tours of the scenic Faro Island, the film ends in an unexpected wallop of heartbreak as Chris begins to describe the film-within-a-film she’s writing in her notebook to her unattentive partner.