Carlos Aguilar

The sort of film that urges one to tell everyone about it so that they too can bask in its wondrous pleasures, “DJ Ahmet” is a revelation in that it seamlessly straddles the line between laugh-out-loud crowd-pleaser and art-house gem with affecting gravitas.

If “Palestine 36” is indeed a filmic history lesson, it’s one worth sitting through. That a traditionally realized historical drama with impeccable production value and consistently effective performances centers the Palestinian perspective makes for an essential endeavor.

Buoyed by Scott’s level-headed turn — he doesn’t transform into a scream king — Hokum is a proficient horror exploit, which hinges on atmosphere instead of gore, even if its many frightening threads feel disjointed, like rooms in distinctly different hotels.

There are many heavy hitters still to come, but Hoppers feels like the first great animated movie of the year. At a time when our right to protest is under siege, this sci-fi yarn exalts the way an individual’s conviction can plant seeds of change, leading to a stronger sense of community.

This suggests that in old age, any one of us could revert to a vindictive version of ourselves, obsessed with getting justice for whatever wound we thought healed but is still throbbing.

A mixed bag of eye-catching imagery and formulaic writing, Goat disappoints because it follows every expected path toward a triumphant conclusion.

Arco looks at once fantastical and recognizable, removed just enough from what we know in our present, but grounded on familiar, childlike amazement.

Despite any narrative quibbles, the movie deserves praise for its genuine call for compassion. Scarlet’s final encounter with Claudius radiates with the complicated poignancy expected of real, difficult catharsis.

Alvarado’s doc is standard in construction but lively in tone, reflecting his subject’s engagement with the sociopolitical challenges faced by Chicanos in the 20th century.

While the on-the-nose title suggests each individual is an isolated entity...the character construction and how their respective desires intersect with one another, in tandem with an effectively dizzying atmosphere, render it more original than expected.

This outstanding debut from writer-director Adrian Chiarella organically marries blood-curdling fright with incisive social commentary.

Sure, the case can be made for this contrast between scatological humor and serious insight working as a mirror for how quickly a person’s reality can shift from joy to sorrow, but the overall effect is puzzling.

For all its entrancing imagery, Zi is ultimately contrived in how the few concrete details of the narrative come together. The result is more experiential than thematically substantial.

Facile explanations are absent from Josephine, as they should be, but what lingers is a sense that every gesture of empathy and bravery, no matter how small or imperfect, tips the scales towards good, even if trying feels like a losing fight.

The strength of the performances and the filmmaker’s smart handling of ambiguity (is there or is there not an actual monster at play here?) do enough to keep one engaged.

Underneath the lowbrow fart jokes and images of caribou mating, the Scrivers’ Endless Cookie honors the legacy others left behind through their experiences so that it can help each new generation piece together their understanding of the embattled present.

For his evocative and wistful romance to yield its intended effect, writer-director Cyril Aris’ biggest ask of the viewer is to surrender to the serendipitous nature of the couple’s connection — a request that is later supported with a concept that expands the film’s magical realist vein. Contrived by design, the premise eventually earns enough goodwill for one to play along.

The Tale of Silyan functions as a dialect between old-world wisdom and modern socioeconomic realities, between the natural realm and the worries of mankind; it’s both spiritual and humanist, about forgiveness and adaptability, and makes a case for holding on to what you’ve always known to fend off the illusion of progress.

After several haphazard attempts with the Frozen and Moana franchises, Zootopia 2 can take the title as Disney’s most effective animated sequel yet.

The gently transcendent, tear-inducing conclusion that “Little Amélie” reaches suggests that memory serves as our only remedy for loss. As long as we don’t forget, what we cherish won’t become ephemeral.

This definitive doc about Selena feels comprehensive and illuminating, thanks to candid family interactions found in home movies from their earliest performances at their restaurant, recordings of local Texas TV station appearances, and eventually images captured on the road while traveling in a makeshift tour bus.

Though some elements read forcedly wedged in for thematic potency, “Plainclothes” feels seductively alive when Lucas and Andrew are alone together—either under the warm lights of the movie theater, where their shadows betray them, or as their hands touch the other’s body inside a lonely greenhouse.

For its lucid interpretation of the current global moment without surrendering to paralyzing despair, “Happyend” settles among the most unmissable films to hit U.S. theaters this year.

A shrewdly constructed, heartrending dramedy.

Thanks to its terrific stars and Liu’s patient direction, which luxuriates in the smallest of gestures, “Preparation” transcends its most predictable beats.

What’s remarkable is that even if one fails at grasping in full the plot and its many conflicts, Ne Zha 2 has the power to flood the senses and convince anyone who watches it that they have just witnessed an animated production that holds absolutely nothing back.

If the director’s spell has taken hold as presumably intended, by the time the most outlandish touches appear, one has already surrendered to its visceral, chaotic allure.

Through some of the screenplay’s slight formulaic stumbles, it’s Gallo’s charmingly fierce performance that anchors all the loose pieces.

An extraordinary first feature and one of the best films of 2025 so far, Sorry, Baby pulls off astounding feats of storytelling.

Elio boasts dazzling animation – and even more striking emotional depth.

It’s through the alchemy of cinema that the Davies brothers have carried out a resurrection of a soul now frozen intact on the screen.

Less vibrant and proficiently pleasant, the new “Lilo & Stitch” only serves as a reminder to revisit the superior hand-drawn version.

The spontaneity with which the majority of the events seem to occur renders Left-Handed Girl all the more impressive.

All of Mendonça Filho’s aesthetic, genre proclivities, and ideological concerns coalesce in this larger period canvas.

There’s plenty to flinch (or even gag) at when directors Danny and Michael Philippou spill some blood , and Sally Hawkins and young Jonah Wren Phillips commit to the intensity of their roles, but the decidedly unanswered questions posed by the plot contribute to some dissatisfaction

Nonnas repeatedly drives home its point about the unifying force of a homecooked meal as an embodiment of community, and even as it overcrowds its narrative pot with too many unnecessary condiments that get lost in the mix, the result is ultimately palatable.

Said maintains plausibility throughout, never plotting far-fetched tribulations, but just outrageous enough to cause the viewer to cringe nervously.

That spirit-crushing feeling of powerlessness is what director Nabulsi aims to fend off, admittedly through not always effective narrative means, but with emotional sincerity nonetheless.

The King of Kings is a serviceable if uninspired take on a story told countless times in just as varied formats.

One of the most necessary and scorching pieces of nonfiction storytelling in recent memory, “The Falling Sky” offers no comfort and points fingers with a ferocious righteousness as we stare into the abyss of the inescapable environmental catastrophe so-called “developed nations” have wrought.

Taut yet thoroughly laced with levity, Black Bag plays like the filmic equivalent of a skillfully executed espionage mission in how tight and exact it feels.

This sophomore directorial effort proves Clapin’s adept hand for soulful, existentialist tales with an offbeat touch, regardless of the medium he’s creating in.

Steeped in both unfaltering and pleasant humanity, Vargas’ characters are what some might deem “problematic.” But they ultimately depict complicated mentalities, with shades of true-to-life negative and redeeming traits.

Through the eyes of its delightfully brave, yet utterly relatable subject (also the de facto cinematographer), this terrifying, revelatory and poignant exposé offers an unseen human angle on an ongoing conflict that’s continues to be widely addressed in documentary cinema.

More contained than “Strawberry Mansion” but with similarly expansive ideas, “Obex” feels opportune for the modern era.

With The Things You Kill Khatami turns in an absorbing and twisty take on introspection.

While occasionally heavy on exposition, memorable dialogue thrives via the actors’ convincingly comfortable banter.

“Ochi” oozes wonder shot after shot, in part from the eye-popping environments produced through a combination of Evan Prosofsky’s lambent cinematography and the use of matte paintings.

Between Borders runs on didactic writing that renders the Petrosyans’ plight into a derivative period drama.

A humble marvel, Omaha introduces a filmmaker with a privileged sensibility to translate these opposing forces into a tapestry of scenes imbued with loving compassion for the characters experiencing them.

I’m Still Here brilliantly distills an agonizing chapter of a nation’s recent past into a sophisticated portrait of communal endurance.

In “Pepe,” a formally imaginative and thought-igniting experimental docufiction, Dominican director Nelson Carlo de Los Santos Arias molds the real-life events around the hippos imported by notorious drug lord Pablo Escobar into an exciting, visually unpredictable consideration of colonialism and human hubris tinged with the fantastic.

Santambrogio’s extraordinary cast of non-professional actors convey a lived-in, personal, and impossible to fake connection to the pleasures, struggles and intricacies of life in Cuba.

Rather than simplistically lionizing the frikis, the directors honor their plight by portraying them as an example of how the human spirit perseveres even when nearly crushed.

Sight gags baked into the production design (the books the Gromit reads or the signs that populate the sets) and gnome puns aplenty make for a ride in which every frame packs a dense layer of comedy, at times conspicuous, others not so much.

Though it leaves one wanting for more hard-hitting, confrontational exchanges with Payá, “Night Is Not Eternal” evinces the road to change as winding, perilous, and far from immaculate.

This sequel doesn’t merit a sing-along and does little to expand on what we already knew about Moana and her friends.

More effective as an aspirational exercise than as a piece of inspired cinema, Say a Little Prayer fulfills the promise of showing Latinos under a different socioeconomic light from what has existed in mainstream media in the past, but not much else.

Bustamante remains a narratively resourceful and exciting artist. If not a flat-out consummation of his talents, Rita certainly expands his scope into more intricate tonal and stylistic experimentation, as he completely frees himself from the chains of straightforward realism.

Its narrative clarity makes its fable seem timeless, while innovating and expanding the visual immersion of its medium.

Pimpinero grazes the chance of becoming a great film but repeatedly lets it slip from its grasp, settling for being just slightly above average.

With the concise, but still singularly haunting Rule of Two Walls, Ukrainian American director David Gutnik has assembled a collection of portraits highlighting the experiences of artists from across the country who’ve found shelter in the city of Lviv, including some of the people behind the making of this very documentary.

Dahomey is at its most blazingly confrontational when Diop includes footage of a panel session in which students discuss the issues at hand.

Watching “Emilia Pérez” is akin to tasting a combination of substances that haven’t previously been put together, at first being taken aback by the bizarre taste but still going in for another sip.

Cooley’s film remains very much a mainstream product entrenched in the build-it-as-we-go mythology of these sentient machines, but there’s an attention to the motivations and desires of its characters missing in many Hollywood cash grabs. Animation can be a transformative, liberating force, even for stories that have been told ad nauseam.

Both a restaurant makeover journey and the portrait of a child who grew up to have enough cash to purchase his personal Disneyland, this amusing documentary bears witness to Parker’s at-all-costs mentality, even when the more advisable choice would be to abandon the project.

Destined to fade into obscurity in the presence of the other two films about Reality Winner, Fogel’s version should at least indicate to other filmmakers that they must leave this story alone and move on to other preoccupations.

The contrived third act notwithstanding, expect audiences in movie theaters to engage with The Front Room in audible gasps, one nauseating stunt at a time.

Using a style of elegant lyricism, which enshrines tiny moments into glisteningly miraculous turning points, Erice lets the exchanges between the people he’s conceived play out without the need to advance the plot.

Ramchandani’s baffling screenplay contains the most obvious, stock archetypes of people recurrent in Hollywood’s uninteresting depictions of Latino communities. Yet, its dialogue, which ranges from the laughably stereotypical to the downright absurd in the context of a sweatshop, stands out as the most unforgivable affront.

The sum of all these components results in a film that’s delightful to look at, though not as compelling narratively.

Crowded with shallow characters (particularly Jinzhen’s loved ones: his wife and adoptive family) there to forcefully inject emotion, overlong and technically pristine while devoid of cinematic personality, “Decoded” is pleasant to look at but difficult to feel much toward.

Partly a tribute to the routine occurrences that collectively make a place feel like one belongs, Monica Sorelle’s delicately galvanizing slice-of-life debut “Mountains,” set in Miami’s Little Haiti neighborhood, overflows with such details.

An insipid mishmash of trite genre tropes, Borderlands is devoid of any real edge.

Sing Sing gathers a collection of heartfelt, nuanced performances in an unmissable drama about the life-altering effects of a real-life rehabilitation-through-theater program at the titular prison.

The evocative visuals here sing in unison with the characters’ yearning to fulfill the promise of their lifelong dreams. They are chasing a glimmer of light before twilight.

There’s just enough of an interesting theme and strong production value (it’s impossible not to succumb to the breathtakingly imposing landscapes) to earn The Convert some grace.

A single frame of “The Imaginary” can outshine the mass-produced, visually uninspired animation in some of the American offers targeting the same demographic.

With its image folding onto itself like a wave in unstoppable motion, “The Human Surge 3” envelops the senses until the very end.

While free-floating and airy in its construction, the film’s deceiving familiarity slowly erodes, morphing into an unsettling, formally astute brain-tickler observing the placid domesticity of an affluent Texas family in their natural habitat.

Not one to shy away from sincerity, Desplechin brings his beloved Paul Dédalus full circle in a satisfying project about the grandeur of the force that unifies the fictional character with the real man.

It’s a Garfield movie for audiences who have never heard of Garfield, which reads as an attempt at erasing history and reintroducing him in this high-octane, overly stimulated form for a generation with reduced attention spans.

Thelma the Unicorn avoids being rendered completely unoriginal by its overly familiar premise thanks to consistent splashes of acid humor and a plethora of wacky supporting characters.

A gripping, heady and refreshing 2D animated take on the perils of man and machine coexisting, Périn’s first feature as a director inserts the necessary exposition in a mostly natural manner so we incrementally become aware of how this reality functions.

This tale of parents and poultry more than earns the exclamation point in its title. It sweeps you into a whirlwind of ingenuity, bite after animated bite.

McCarthy and editor Brian Philip Davis deploy high-voltage moments with expert timing, using the dark to their favor in refreshing fashion.

While “Absence of Eden” lacks narrative originality, it often dazzles visually.

Abigail is a hilariously gory romp that banks on a memorable ensemble cast and a witty screenplay that invigorates vampire tropes with a refreshing drollness.

This caper-slash-personal essay is an admirable endeavor that honors, above all, a filmmaker’s fixation on a medium that makes him whole.

As with Rohrwacher’s previous movies, there is an exquisite blurring between the tangible and the ethereal, the urban and the pastoral, life and death, past and present — all of it overlapping with the same ease as the hues of a twilight sky.

As with plenty of memorable comedies, what makes “Dad & Step-Dad” a special treat is that beneath its well-mannered raunchiness and stoic silliness there’s an undercurrent of something truthful about the human condition.

Like a comedy sketch that overstays its welcome, “Society” undermines both its caustic intent and its romantic-comedy subplot.

Little insight is gained from what’s on screen.

You can get the facts about these migrants anywhere, but Garrone knows the tool of cinema is more effective. By presenting these adolescents in all their fragility and strength, he comes as close as is possible to getting us to feel how they felt. Io Capitano is as unflinching as it is robust with empathy.

Turkish director Nuri Bilge Ceylan spends his latest engrossingly verbose, three-hour opus, “About Dry Grasses,” warning us that every truth is partial as it’s tinged with the teller’s perspective.

No doubt comparisons to “Saltburn,” “The Killing of a Sacred Deer” or “The Talented Mr. Ripley” will abound, but what Lin conceived is far more subcutaneous, with a sobering tone and disinterested in building up to a grand plot twist — though the resolution is unexpected.

A work of tremendous lyrical potency, even more intricate in meaning and scope than the pair’s earlier stunner, Sujo thunderously demonstrates why Valdez and Rondero stand among those soon to be regarded as the new masters of Mexican cinema.

Bursting with unruly energy that practically escapes the confines of the screen, Kneecap is a riotous, drug-laced triumph in the name of freedom that bridges political substance and crowd-pleasing entertainment.