Phantom Thread only unveils its true nature in its final few minutes.
Mountain lets its majestic cinematography distract from its attempted critique.
I, Tonya might be a love letter to disgraced former ice skater Tonya Harding, but it’s also a love letter to Martin Scorsese.
Swinging Safari offers a convincing impersonation of an excoriation of Aussie culture in the moment, it falls apart like an overcooked pavlova if you poke it a little.
The Shape of Water is a flamboyant fantasy yet deeply human; old-fashioned yet profoundly modern; filmed with a palate preferring murky, oceanic greens yet somehow bursting with light and life.
Like Non-Stop, The Commuter twists absurd action around an Agatha-Christie-esque closed-room mystery.
The Post’s images are undeniably potent, but in that big, obvious way that steamrolls the complexity of the issues.
A Silent Voice is an optimistic, humanistic film. You might not expect that level of optimism from a story bracketed by a pair of suicide attempts, a story of bullying and trauma and self-hatred.
As a representation of the corrupting influence of money – whether in the hands of mafioso or oil barons – All the Money in the World is successful if simplistic.
Once you get past the undeniably unique conceit of KanColle, there’s not much to recommend it.