Daniël Arends: Thuis praat ik bijna nooit 

Even without the messaging, Mercy does not hold up as a movie. It's sloppily done and the mystery doesn’t tie together at the end.

It: Welcome to Derry proves you can have rich representation, real humanity, and still fully enjoy Pennywise terrifying kids in sewers.

The film basically says she was a lost cause from the start. We don't get a sense of who Marilyn was.

The one-way journey went to the desert that refused to offer an answer or a transcendence.

With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.

Barry Jenkins' masterpiece holds up as the story of a lifetime centered on the intersection of Blackness and gay identity.