Simon Talbot: Damp 

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

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.

Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes

Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

Between its problematic nature, its lack of originality, and the senselessness of its violence, Onslaught cannot be recommended in good faith.

Spirited inverts the tropes of the holiday musical genre to update an age-old tale for 2022. It's a paean to those who make grand spectacles possible.