Emily Zemler

It’s a small film that leaves behind big ripples.

The film is charming and warm-hearted, much like Paddington and its sequel, and the onscreen delight is infectious.

It’s impossible to deny the immersive, dreamlike quality of Aftersun, which hinges its success on the impressive performances from Mescal and Corio.

This is a film that everyone, but particularly women, should see. It is a core-shattering experience in every frame.

It is both empathetic and brutal, but at the core is a hint of optimism. That despite our human instinct to create conflict, we could do better. In conveying this in such an original way, McQueen proves that there is always a new way to navigate a well-trodden path.

It is infectiously delightful, even if you’re someone who might typically steer clear of chipper, pink-hued flicks. Somehow Gerwig has struck a balance between unhinged whimsy, deep humanity and comedic bliss. It’s funny, it will make you cry and it feels almost like a rebellion.

Holofcener is a master at these microcosms, which feel like a glimpse into someone’s actual life. She show it to us with empathy and curiosity in a way that feels oddly revolutionary. There’s no VFX, no stunts—just a few people attempting to navigate the ups and downs of human existence.

Miller is an undeniable storyteller and filmmaker, and Furiosa is an epic, world-building creation imbued with its own vast mythology and expansive scope.

After Yang is a beautiful film, both in how it looks and in what it evokes.

Like the book, Chris Sanders’ onscreen adaptation is compassionate, funny and filled with unexpectedly poignant moments.

A Complete Unknown never really parses anything new about Dylan or reveals his psychology, instead letting us continue to wonder about the man behind the dark lens. It’s a thrilling, entertaining journey as we do, with performances that never falter by actors who clearly did the work and then let it go once on set.

Tuesday is a challenging watch at times, and it requires an acceptance of the strange world it inhabits, but it’s a deeply worthwhile experience.

The Northman is a big-budget epic, but it retains those indie roots, with Eggers bringing in all of the elements that have made his past films so aesthetically successful.

The Worst Person in the World is a poignant reminder there is beauty in that uncertainty if we can only accept it.

It would easy to call Women Talking a #MeToo movie, but it’s a lot more than that. These aren’t trendy conversations; they’re long-held struggles that people of all genders have faced for generations. Instead, Polley asks why people are forced to endure such horrific repression and violence because they are female. The question resonates far beyond the end of the film, although there is no quick answer.

My Old Ass is a success because it’s so earnest, allowing these ideas to resonate with subtle humor, emotional heft and, most importantly, self-acceptance.

Scoop is presented as a thriller, which works. Although we know the outcome, Martin successfully immerses us in the narrative in a way where it feels precarious.

Directed by Burton and written by Alfred Gough and Miles Millar, the fantastical comedy is a hilariously strange and charismatic voyage through Hollywood’s best creative minds and most skilled special effects magicians.

Ali & Ava is a gentle, emotionally-charged drama that doesn’t placate the viewer with unrealistic ideas about love.

In a vacuum, without the headlines, Don’t Worry Darling is a thoroughly compelling watch that reveals a strong filmmaker in Wilde and genuine star in Pugh.

A free-wheeling ride through the best of the actor’s filmography.

It’s a tearjerker at times, sure, but what remains is how much a person can endure under impossible circumstances. How can someone be this resilient? It seems unknowable, but movies like this help us to get closer to the truth of our existence. It’s a difficult watch, but an important one.

This is a deeply personal film, which may feel unexpected in a Pixar movie. But the pains of growing up and feeling stuck between youthful adventure and the tradition of your family are resonant for any viewer, regardless of their own experience with puberty.

Companion offers a relatively surface-level thriller that asks far bigger questions than its easygoing vibe might suggest.

Simien has created a thoughtful movie experience that feels diverse, funny and visually interesting. Those expecting an exact recreation of the ride won’t find it here, which may be for the best. Despite a few cartoon-y scenes, Simien and his cast elevate Haunted Mansion to a thoroughly entertaining and oddly emotional good time.

It’s equal parts compelling, ridiculous and uproariously pleasurable, often to the point where you can almost hear director Ridley Scott shouting, “Are you not entertained?”

Written by comedian Joel Kim Booster, who also stars, the movie reframes the traditional rom-com by putting gay men into the leading roles and inviting viewers to experience drama and relationships that don’t often get the Hollywood spotlight.

This is an intimate story, sometimes uncomfortably so, but it’s also an expansive one, about whether our societies allow people to live outside prescribed boxes and whether it accepts them when they do.