Guillermo del Toro’s Frankenstein has no interest in existing within the horror genre, but rather as an existential and exuberant drama elevated by impeccable production values.

Previous Paul Thomas Anderson films are remarkable for the way they elude easy definition, but here, everything is exactly as it seems.

The first novel by Stephen King finally reaches the big screen. The premise remains intact, as does its ambiguous setting. 

The Brothers Quay have made a film that will confound those in search of normal narrative logic, yet it is beautifully attuned to its own unconscious rhythm.

This beautiful and painful coming-of-age tale features a powerhouse performance by eight-year-old Lexi Venter.

A contemporary take of Françoise Sagan’s 1954 novel that is elegant and intriguing, but also restrained and austere.

A mix of conventional Hollywood gloss and scrappy, lusty, unbridled rebellion, starring Daisy Edgar-Jones and Jacob Elordi.

At times, it feels like Eat Pray Love or Under the Tuscan Sun are the best points of reference here.

An amusing inspirational comedy set against the backdrop of Argentina’s Dirty War.