Still relevant, John Singleton's honest reflection of his own experiences comes together in Boyz n the Hood.
Author: Matt Paprocki
Matt Paprocki has critiqued home media and video games for 20 years across outlets like Variety, Rolling Stone, Forbes, Playboy, Polygon, Paste, and others. His current passion project is the technically minded DoBlu.com. You can follow Matt's body of work via his personal WordPress blog, and follow him on Twitter @Matt_Paprocki.
While Beauty and the Beast isn't without problematic elements, it's also a film that turns its heroine independent and proud to be herself.
1917 isn't a film that revolutionizes war cinema with storytelling, but with technique that refuses to relent or offer a reprieve.
Painted with satire, VFW goes back to a cultural moment, digging up the Vietnam return sub-genre and placing it in a wildly fun modern setting.
Imperfect and existing only to exploit a trend, writing off Gappa ignores that it's trying to bring a sense of normalcy to a changing country.
Although adapted from centuries old literature, Ne Zha's story still holds relevance behind the showy, gorgeous animation.
Unrelenting in its pace and exhausting in its tension, Uncut Gems is an editing masterpiece much as it is a balanced allegory.
Ludicrously skewed and weakening any support for Richard Jewell's unfortunate story, Clint Eastwood ignores any nuance in bringing this to the screen.
While everything closes too neatly, Jojo Rabbit reflects the now as much as the past in order to show there's still hope.
Dark Waters doesn't steer itself away from lawyer movie cliches, yet the central story is one of American complacency, security, and indifference.
While restrained and redundant, Return of Ultraman keeps up the energy with a flawed hero saving Japan from numerous beasties.
Ultraman Orb: The Origin Saga uses its platform to subtly teach kids about Japan's wartime mistakes between splendid giant monster battles.