There is something undeniably powerful about a film that swings this hard, that embraces myth, spectacle, and the strange dream logic of ancient storytelling.

My refusal to submit to Leitch’s brand of action-packed cinema, marketed as an ode to stuntmen, led to a mind-numbing 126-minute experience, that fell flat on its behind, from one set-piece to the next.

You would expect nothing more than cringe when it comes to oddball actor Jesse Eisenberg’s directorial debut, and that is exactly what we get in “When You Finish Saving the World,” which plays like a mix of Nicole Holofcener and Todd Solondz.

We seem to be in throwback mode right now at the movies. Last week’s “M3GAN” was a deep dive into ’80s killer doll movies and this coming Friday sees the release of “Plane,” a throwback action movie recalling the days of Arnold and Stallone.

Set 21 years ago in Masshad, Iran, Ali Abassi’s “Holy Spider” shocked quite a few people at Cannes for its depiction of violence towards women.

My expectations were fairly tamed down when I entered the Princess of Wales theater at TIFF for Tobias Lindholm’s “The Good Nurse,” and know what?

This Cannes Critics’ Week title had everybody talking on the Croisette. Debut filmmaker Charlotte Wells depicts the personal story of the melancholic and bittersweet resort holiday she took with her father (Paul Mescal) twenty years ago.

We are only six days away from the best movie of 2022, so far, at least, being released in theaters.

Chinonye Chukwu directs the hell out of the conventional screenplay she’s been given in “Till.” The movie wouldn’t have worked in many hands, but through her caring direction, and a landmark performance from Daniel Deadwyler, it does.

Ruben Ostlund’s latest provocation, this year’s Palme d’Or winner, is absurdist satire done right. The writer-director yet again proves he’s a unique voice in cinema and one that is much-needed at the moment.

I’m telling you, if Olivia Wilde’s “Don’t Worry Darling” didn’t have all this behind-the-scenes baggage going against it then maybe critics would have been kinder to it. It’s not a terrible movie, nor is it a very good one either.

More than a year after its failed Cannes premiere, director Nabil Hayouch’s “Casablanca Beats” has finally been released in theaters.

Andrew Dominik’s “Blonde” is essentially split into various passages of Marilyn Monroe’s tragic life. It’s a messy, sprawlingly ambitious 165 minute movie that, at times, feels like Lynch and Malick’s love child.

The titular character in Ti West’s “Pearl” is played by Mia Goth, and if you’ve seen West’s previous film, “X,” then you soon realize she’s the insane old lady from that movie.

A bitingly funny coming-of-age story concerning a teenage cartoonist who vehemently rejects the comforts of his suburban life, Owen Kline’s “Funny Pages” is one of the best films of the summer.

If you like Aubrey Plaza as much as I do, then don’t miss this one — being released next Friday.

Ben Manalowitz (B.J. Novak), a journalist and podcaster from New York City, travels to West Texas to investigate the death of a girl he was hooking up with.

You can feel the influence of Greek auteur Yorgos Lanthimos in this spellbinding thriller.

Character actress Dale Dickey, who has the definition of a weathered face, is given her chewiest role, and does most of the heavy lifting, in Max Walker-Silverman’s ever-so-slight “A Love Song.”

In his third film, “Nope,” Peele has a much bigger canvas to paint on. The result is his most ambitious movie, but also his messiest.

This $200 million action movie, the most expensive Netflix production ever, is exactly what you’d expect from the studio that brought you “Red Notice”: an algorithm-infused product that barely has a beating heart.

“Fire of Love” is primarily worth a look at for the astonishing archival footage of exploding volcanos, captured by two French chasers, and only secondly for the love story between the two volcano scientists.

Chloe Okuno‘s “Watcher,” which I raved about a few months ago when it premiered at Sundance, is getting released tomorrow.

David Cronenberg’s latest is not a great film, but it’s a very good one. However, over time I believe it might be considered his magnum opus. It a late-career statement from a major auteur.

Stuffing so much plot into its 105 minute narrative that it threatens to derail, and that it does, Carey Williams‘ “Emergency” tackles one night, in the wee-wee hours of the morning.

Alex Garland is a filmmaker that no doubt wants to provoke a reaction out of his audience.

The shadow of Michael Haneke looms heavily in “Human Factors,” as French-German couple Nina (Sabine Timoteo) and Jan (Mark Waschke), tired of the advertising agency they co-own, take their kids Max and Emma to an idyllic off-season retreat for a seaside vacation.

I’m no Marvel Cinematic Universe megafan, but it really pains me to say that I did not at all like “Doctor Strange in the Multiverse of Madness.”

French-Lebanese filmmaker Audrey Diwan’s sophomore feature won the top prize at Venice in September.

Gaspar Noe’s latest, titled “Vortex,” is a 142 minute examination on old age and death. Not as much of a provocation as it is a slow-burn, this meditation on twilight love will surely isolate some of Noe’s fans who are looking more to be provoked.