| LAT | RTMC | RTC | note: “~” = the film's name | |
| documentary | ||||
| Half the Picture | yes | 100 | 100 | re: civil rights of female directors in Hollywood |
| Recovery Boys | yes | 100 | the harsh reality of [opiate addiction] recovery | |
| Won’t You Be My Neighbor? | yes | 99 | 100 | *Mister Rogers, we miss you |
| Filmworker | yes | 95 | 100 | *Stanley Kubrick's fellow obsessive |
| Three Identical Strangers | yes | 94 | 100 | intensely compelling |
| This Is Congo | yes | 93 | vivid and immersive | |
| Eating Animals | yes | 92 | 100 | Factory farming, not meat eaters, the issue |
| Nossa Chape | yes | 92 | 83 | penetrating |
| Saving Brinton | yes | 91 | 100 | an endearing, affectionate |
| A Skin So Soft | yes | 91 | 80 | patiently paints a picture |
| The Most Unknown | yes | 91 | 80 | smile-inducing field trip |
| Pope Francis: A Man of His Word | yes | 89 | 88 | *a moving new portrait |
| Mountain | yes | 85 | 93 | *Awe-inspiring visuals |
| Five Seasons: The Gardens of Piet Oudolf | yes | 82 | 80 | immersing us in what his work looks like |
| Believer | yes | 78 | 83 | fine, rousing, often touching |
| The Gardener | yes | 75 | paean to the Les Quatre-Vents gardens | |
| Westwood: Punk, Icon, Activist | yes | 74 | 67 | a fascinating glimpse of who she was/is |
| Andy Irons: Kissed by God | yes | ably strikes a balance between sports doc and biography | ||
| Game Changers | yes | trivia-packed; about TV’s most enduring genre | ||
| Whitney | yes | explores the baffling conundrums of her life | ||
| The Gospel According to André | so-so | 89 | 86 | gets bogged down, nevertheless ... |
| Strangers on the Earth | so-so | 83 | largely inspiring and transporting portrait | |
| That Summer | so-so | 81 | 75 | In truth, there’s not enough “there there” |
| Maineland | so-so | 77 | 60 | sweetly observed if not especially incisive |
| To a More Perfect Union: U.S. v. Windsor | so-so | could be more focused, but ... | ||
| The Workers Cup | no | 76 | 63 | Film on labor camps falls short |
| The King | no | 71 | 67 | sprawling and often unfocused |
| Always at the Carlyle | no | 61 | 55 | reveals too little about the hotel |
| Spiral | no | 25 | 40 | Uninspired look at anti-Semitism |
| Calling All Earthlings | no | Extended life for the Integratron | ||
| Christian Audigier the Vif | no | A designer not fully fleshed out | ||
| animated | ||||
| Incredibles 2 | yes | 93 | 85 | *The Incredibles are back, and all is right with the world. |
| Fireworks | no | 43 | fantasy lacks a certain spark | |
| regular movies | ||||
| En el Séptimo Día’ (On the Seventh Day) | yes | 100 | 100 | The uncertainties felt by immigrants on vivid display |
| Leave No Trace | yes | 100 | 100 | *leaves its traces everywhere: in your mind, heart and soul |
| Summer 1993 | yes | 100 | 100 | uniquely vivid and evocative |
| Marlina the Murderer in Four Acts | yes | 97 | 100 | Offbeat revenge thriller delivers |
| Sorry to Bother You | yes | 95 | 93 | *A class-rage satire that lands all of its punches |
| Angels Wear White | yes | 91 | 90 | Propulsive without ever being exploitative |
| Hearts Beat Loud | yes | 90 | 92 | *sweet-natured, warmly emotional |
| Hereditary | yes | 89 | 95 | a mother who finds herself battling a terrible legacy |
| Zoo | yes | 88 | a heartwarming, familyfriendly film | |
| American Animals | yes | 86 | 75 | *Heist drama stands out |
| Sollers Point | yes | 86 | 73 | a cool, classically observational tone |
| Ant-Man and the Wasp | yes | 86 | 71 | *just the right summer tonic |
| Upgrade | yes | 85 | 85 | *strikingly designed [techno] tale |
| Cargo | yes | 84 | 88 | *emotionally powerful |
| Under the Tree | yes | 82 | 100 | A ‘Tree’ hugger with bite |
| Nancy | yes | 81 | 76 | You can see through the lies. And yet ... |
| The Day After | yes | 78 | 67 | amusingly bittersweet yet quietly resplendent |
| Gabriel and the Mountain | yes | 77 | 83 | a beautifully filmed, subtly political travelogue |
| Dark River | yes | 77 | 78 | *powerfully told and performed |
| Never Steady, Never Still | yes | 76 | 100 | Bleak, not hopeless, gut-wrenching, not selfpitying |
| Damsel | yes | 75 | 73 | *Not Granddad’s western; sly, archly comic |
| Breath | yes | 74 | 73 | a softly roiling, ultimately affecting gem |
| Believer | yes | 73 | 50 | slick action picture with sympathetic characters |
| On Chesil Beach | yes | 69 | 70 | Going astray in a sea of love |
| Ocean’s 8 | yes | 67 | 59 | A fun bunch pulls off an enjoyable, low-fizz heist |
| Uncle Drew | yes | 65 | 50 | banks one in |
| Tag | yes | 55 | 48 | a loose, lighthearted and playful comedy |
| The First Purge | yes | 54 | 58 | a bit of rough pleasure amid the kicks and thrills |
| Book Club | yes | 53 | 61 | the greatest crossover event in history |
| A Kid Like Jake | yes | 52 | 47 | modest but effective parenting drama |
| Mrs. Hyde | yes | 46 | 45 | fun, unorthodox reimagining |
| Show Dogs | yes | 18 | 33 | Talking canines shine in fluffy fun |
| Guilty Men | yes | an absorbing, visually gripping crime-thriller | ||
| How Long Will I Love You? | yes | whimsical Chinese time-traveling rom-com | ||
| King of Peking | yes | many charms, passion for cinema | ||
| The Cakemaker | yes | provocative, unexpected, very moving | ||
| The Elephant and the Butterfly | yes | Gentle fable will warm the heart | ||
| First Reformed | so-so | 95 | 97 | an austere yet bracing look at a soul in crisis |
| Sunday’s Illness | so-so | 93 | better in its early, unspoken strangeness | |
| Solo: A Star Wars Story | so-so | 71 | 60 | has the actors it needs to soar, but the story malfunctions |
| The Misandrists | so-so | 71 | 60 | manages to beguile while it sermonizes |
| Ibiza | so-so | 68 | 67 | surprises with some darker themes and oddball humor |
| Ideal Home | so-so | 67 | 56 | the cinematic equivalent of Sour Patch Kids |
| Hotel Artemis | so-so | 57 | 43 | taps into a futuristic-societal microcosm |
| Izzy Gets the F*ck Across Town | so-so | 52 | 38 | an ultimately frustrating ending |
| The Yellow Birds | so-so | 45 | 36 | manages to leave an affecting mark, but ... |
| In Darkness | so-so | 42 | 60 | doesn’t exactly bring anything new to its genre |
| Carter & June | so-so | 13 | a wacky, Southern-fried heist comedy | |
| 2036 Origin Unknown | so-so | not as deep as it intends to be | ||
| Affairs of State | so-so | engaging, ungainly hybrid of “The Graduate” and “House of Cards | ||
| The Icarus Line Must Die | so-so | Band’s story keeps its punk rock cred | ||
| Set It Up | no | 94 | 90 | Netflix: strained, protracted romcom gives the genre a bad rap |
| Who We Are Now | no | 94 | 88 | succumbs to common indie-film failures |
| Alex Strangelove | no | 86 | 100 | a deeply annoying failed experiment |
| Moss | no | 83 | 100 | underwhelming coming-of-age drama |
| Deadpool 2 | no | 82 | 67 | snark, no spark |
| Bernard and Huey | no | 76 | 75 | retains Pfeiffer; lacks Mike Nichols |
| Discreet | no | 75 | Thriller has more mood than story | |
| Adrift | no | 73 | 77 | keeps throwing you a line |
| The Lighthouse | no | 71 | a gloomy historical suspense picture | |
| The Year of Spectacular Men | no | 70 | 78 | too head-spinningly autobiographical |
| Sicario: Day of the Soldado | no | 64 | 52 | sequel is bigger, brasher and much less memorable |
| Boundaries | no | 52 | 48 | a clumsy feature-length therapy session |
| Woman Walks Ahead | no | 52 | 45 | An inert portrait of history |
| Jurassic World: Fallen Kingdom | no | 51 | 47 | In a 'Jurassic' rut |
| How to Talk to Girls at Parties | no | 47 | 44 | A party that crashes early |
| Social Animals | no | 43 | Hipster clichés drain rom-co | |
| The Valley | no | 42 | 20 | Tackling teen suicide in with a heavy, sluggish hand |
| Feral | no | 38 | A bunch of kids head into the forest and meet a monster | |
| Incident in a Ghostland | no | 38 | an intentionally unpleasant nightmare | |
| Mary Shelley | no | 36 | 21 | gratuitous need to overexplain everything |
| The Legacy of a Whitetail Deer Hunter | no | 31 | 20 | The not-so-great outdoors |
| The Catcher Was a Spy | no | 31 | 12 | Superb pitch, but a swing and a miss |
| Bleeding Steel | no | 27 | a ‘Bleeding’ mess | |
| Beach House | no | 25 | 20 | Amateur fantasy is no getaway |
| Rodin | no | 21 | 18 | hits the highlights but lacks drama |
| Action Point | no | 20 | 18 | meaningless; fizzles out like deflated balloon |
| Hover | no | 20 | Lethal-tech tale wings it poorly | |
| The Texture of Falling | no | 17 | means nothing; is just honestly confounding | |
| Distorted | no | 14 | Ricci excels, but thriller doesn’t | |
| China Salesman | no | 7 | two tough guys played by Mike Tyson and Steven Seagal | |
| 211 | no | 6 | 0 | Nicolas Cage, call for more backup |
| Black Water | no | 0 | 0 | is retro in all the wrong ways |
| Dark Crimes | no | 0 | 0 | dreary, exploitative police procedural |
| 6 Dynamic Laws for Success (In Life, Love & Money) | no | Novelty wears off | ||
| All Summers End | no | bad-decision drama | ||
| Billy Boy | no | the final product is disjointed and irritating | ||
| Champion | no | over-slick retread of "Over the Top" | ||
| Counterfeiters | no | Ambitious noir lacks substance | ||
| Funeral Day | no | Awful character kills all the humor | ||
| Hooked | no | Homeless drama lacks cohesion | ||
| Intersection | no | Decent mystery follows trite path | ||
| No Postage Necessary | no | Not worth its weight in bitcoin | ||
| Racing Colt | no | devolves into a glum and unpleasant tale of narcissism | ||
| Sunset Society | no | shoestring splatter project | ||
| The Accidental Detective 2: In Action | no | Make no mistake, a forgettable case | ||
| The Debt Collector | no | too hard to make all his mayhem meaningful | ||
| Welcome to the Men’s Group | no | the most full-frontal male nudity ever in a mainstream movie | ||
| Yadvi: The Dignified Princess | no | Shallow story derails drama |