J. C. Chandor's fourth feature may be a fluke for the director.
David Lynch's surreal neo-noir still remains one of his finest and most hypnotic films.
Elaine May's understanding of masculinity goes beyond what men would be afraid to admit, even today.
James Gray's second feature film may have gone understated, but its beauty still shines through.
Drew Goddard's second film is a blast. Then it isn't. But it mostly is.
Barry Jenkins's third feature film doesn't only set him up to become one of this generation's finest filmmakers; it proves he is one among our finest.
David Lowery's most recent film is a bittersweet sendoff to a legend, if this were truly to be Robert Redford's last film.