2018

In ‘Await Further Instructions’ a family is terrorized by an outside force preventing them from escaping their holiday festivities but driving them to confront their inner demons.

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After escaping a set-up, a dying hitman and a teenage prostitute hideout in Galveston, where they plan their next step.

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A woman’s unsatisfying marriage takes a turn for the worse when a mysterious man from her past comes to town to perform an event called “An Evening With Beverly Luff Linn; For One Magical Night Only.”

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The new Halloween was never going to live up to the legacy of its predecessor. But it does evoke the original and take into consideration how audiences have changed since then, which is a minor miracle, I suppose, and it is light years better than the nine films in between.

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A prescient social comedy, The Oath takes a look at the effects hardcore political divisions have on relationships and family.

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A tragi-comic exploration of masculinity, fatherhood, and loss, ‘Thunder Road’ is nothing short of remarkable.

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‘First Man’ earns its 130-minute running time by taking as much patient care of its characters’ emotional journeys as it does with the drama inherit to the space race.

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‘All About Nina’ is a coming-of-age movie about comedy that knows nothing about what it means to be funny or even to grow up.

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This is the banner of modern dramatic filmmaking? This is what everyone is waiting on the edge of their seats for me to write about? THIS is the biggest critical darling of the year?

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Not even the great Tom Hardy can save Venom from being a pedestrian comic book flick that strives for mediocrity and still manages to miss the mark.

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An absurdist love-letter to the Scandinavian metal scene, Heavy Trip is just charming and earnest enough to elevate the whole effort past its flaws.

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A somber retelling of an American tragedy projected through the #MeToo lens, Lizzie is a 100+ year-old tale that feels right at home in 2018.

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‘The Song of Sway Lake’ is a harmless trifle of a film about the weight of memory as seen through the prism of wistful longing.

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In ‘The Wife’ Glenn Close delivers a strong performance – a wife on the end of her ropes destined to let go of all the secrets she and her husband have carried throughout their marriage.

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‘Mandy’ is a blood-spattered, acid-dosed fever dream of a film that takes far too long to rev up, but never lets its foot off the pedal when it does.

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