An origin story for a character that had yet to be introduced in the MCU, the film — the first big-budget tentpole for indie filmmakers Anna Boden and Ryan Fleck — had to give us a compelling story of its own while setting up the wildly anticipated Avengers: Endgame, and — thanks to an efficient script from Boden, Fleck, and Geneva Robertson-Dworet (Tomb Raider) and a winning lead performance from Oscar winner Brie Larson — it largely succeeded. Read the full review. Director Chad Stahleski and star Keanu Reeves have perfected the formula at this point, and John Wick: Chapter 3 — Parabellum gave action diehards exactly what they came for and then some. Debate still rages; both sides can point to the Russo brothers’ quasi-finale as evidence for their cause. The surprise here: Adam Sandler (yes, that Adam Sandler), who stars as the gambling-addicted jewelry store owner Howard Ratner. The director is next set to helm a contemporary take on horror classic Candyman for producer Jordan Peele, a man who knows a thing or two about coming out of left field. Read the full review. Long-suffering but resolutely defiant, she’s the embodiment of female perseverance in the face of the unholy. Diane (Mary Kay Place) is always looking out for others, be they her good friends, her older relatives, or her son Brian (Jake Lacy), who can’t get his drug habit under control. With long hair and a fanny pack permanently affixed around his waist, McConaughey is a magisterial stoner hedonist, and if his rollicking escapades aren’t enough to deliver a potent contact high, Korine and cinematographer Benoît Debie’s rapturously colorful portrait of Florida’s posh and downtrodden milieus more than do the delirious trick. In the near future, Major Roy McBride (Brad Pitt) is sent on a top-secret mission to Neptune, where his commanders believe his renowned father Clifford (Tommy Lee Jones) – missing for decades on a quest to find intelligent E.T. Instead, it honored his legacy by picking up the Kindness Torch in its own right. Noises Off meets George Romero in this lively and genre-revitalising metafictional horror show by Shin’ichirô Ueda. In the lead is young Louis Ashborne Serkis, whose father Andy is a performer of some note. Eggers eventually drowns his material in slithering sexualized imagery of a crazed sort, and caps things off in a manner that’s all the more cautionary-tale haunting for remaining so unforgettably oblique. Florence Pugh is plunged into a terrifying pagan bacchanal in a magnificent folk-horror tale from Hereditary director Ari Aster.

Read the full review. Read the full review. Scabrous 18th-century black comedy from The Lobster director Yorgos Lanthimos, with Rachel Weisz and Emma Stone jostling for favour from Olivia Colman’s Queen Anne. From start to finish, Crawl is the sort of edge-of-your-seat, cringing-with-delight thriller that Hollywood rarely makes these days. A front-row seat for the moon landings? There’s poignant poetry in this haunting fairy tale, and magic as well. Read the full review. Directed by Oscar nominee Todd Haynes (Far From Heaven), the film received critical kudos for spinning an entertaining yarn from what could have been the ingredients for a plodding procedural — and for Ruffalo's performance, which proves (in case you didn't already know) that the actor is more than just a Hulk. High in the mountains of an unidentified Latin American country, a band of child soldiers (with names like Rambo, Wolf and Boom Boom) partake in intense physical training and unique aggro rituals – such as lashing a member for their birthday – while guarding their hostage, an American doctor (Julianne Nicholson). The joy was definitely contagious; another of the year's best-reviewed flicks, Little Women was, according to Cinemayward's Joel Mayward, "a warm hug of a film... Gerwig clearly loves every one of these characters, and such love flows from the screen to the audience with generosity and grace.". "While it takes a few beats to rediscover the manic rhythm of the original... about half an hour in, every piece more or less clicks," wrote The Globe and Mail's Barry Hertz, "and I will not apologize for that sentence."
Read the full review. Shin’ichirô Ueda’s cult classic-in-the-making is about a couple fending off a zombie plague. The first release to emerge from the Obamas’ production deal with Netflix, Julia Reichert and Steve Bognar’s eye-opening documentary begins on a high, as American and Chinese workers show equal enthusiasm for the new venture, which promises to bring opportunity (and, hopefully, prosperity) to a community hit hard by a prior GM plant’s closing.

Regardless, it’s still an escalating freak-out scored to thumping electronica and populated by a raft of potential monsters. For every Interstellar or Arrival, there's been a Jupiter Ascending or Valerian and the City of a Thousand Planets. "The legislation it flouts is the law of diminishing returns which governs movies with numbers after their names." Read the full review. Martin Scorsese’s mob epic unites three legendary actors steeped in menace to spin a potent tale of crime and corruption – and mark the end of an era in truly masterful style.
It's simply a joy to watch." We rank the best Legendary Pokemon based on power, design, and story. At this point, one could be forgiven for simply expecting to find the latest Marvel releases on lists such as these, but Captain Marvel had its work cut out for it. Our second Apocalypse Now nod in this list is Alejandro Landes’s deeply mad thriller about a wild cult of teenage bandits who have rituals, guns and a hostage – but no Colonel Kurtz. Said The Lamplight Review's Brent Hankins, "Performances in genre pieces are often dismissed and disregarded, but make no mistake: Nyongo's work in Us is some of the very best of her career."

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