Its approach to interpreting one of the darkest chapters of 20th century history has a whiff of callous innocence, but it ultimately gives way to a heartwarming if idiosyncratic satire on the need for human empathy.
This is Scorsese at his finest, and is in my opinion probably the greatest American film to come out of the 1970s.
Scorsese’s directorial breakthrough is such raw and involving cinema, showing us why he would go on to be regarded as one of the greatest of all American filmmakers.
A return to sterling form for Spike Lee, this is one of the year’s most powerful films, and it’s very funny too.
Spike Lee’s remake of Park Chan-wook’s twisted masterpiece starts off lethargically, but grows in confidence with its material, though it is still many miles away from the standard of the South Korean original.
A disappointment by Tibet’s standout filmmaker, whose beautifully-shot picture is a cautionary tale of packing too many themes into one story and losing grasp of its tone.
A zany installment in the ‘Thor’ franchise that is the closest Marvel has come to making a pure fantasy-comedy.
A fun and quirky out-in-the-wilderness movie with delightful all-round performances.
There’s ample spectacle on display, but barely sufficient characterisation to make us feel anything for the ragtag group of protagonists.
One of the 2019’s most powerful films, this confident feature debut by Ladj Ly serves a potent wallop of social injustices and street-level rage.
