Graeme Guttmann

The Last Showgirl isn't perfect - it's melodramatic by design, and it wears its heart on its sleeve. But Anderson's raw and unfiltered performance, one clearly tailor-made for her, makes up for the film's weaker elements, as does the chemistry between the cast.

Kingdom of the Planet of the Apes is a rousing action-adventure in the ruins of the human world – traces of the past remain but this is Noa's story.

Hiding within Stars at Noon is a lean erotic thriller, one where the lack of chemistry between Alwyn and Qualley can be overlooked both because of Denis' directing and the standalone performances of its cast. Unfortunately, the film gets bogged down by pacing issues, hoping to coast on the chemistry of Qualley and Alwyn, but runs out of gas long before danger starts to creep in just past the hour mark.

Even as it veers into darker thematic territory, Feig's light touch and Seyfried's committed performance add an air of deranged enjoyment that make The Housemaid one of the most fun movies of 2025.

The sense of timelessness and the sanctuary (itself a bubble made to burst) add a listlessness to the film that only underscores the constant shifting of the family's foundation. Glasshouse may build to a climax that many can see coming, but that's beside the point. The conclusion plays off what has come before it, feeling like a memory that could have easily been forgotten.

At times, it can be bitterly hysterical, with Aster, who also wrote the film, further flexing his comedic muscles after his previous film with Phoenix. On the other hand, Eddington can be almost too on-the-nose, knicking the surface of complex issues but pulling the blade away before it can really draw blood.

The End is a challenging film and the rewards may be minimal, but that it exists at all is a miracle itself.

For all its shortcomings, Sharper manages to pull together all of its cons with a finesse that could have easily been bungled in less capable hands. Even if it fails at its greatest con of all — pulling one over on audiences — it still manages to be a taut thriller that feels fully realized.

Its best moments aren't in the octagon — they're in the quiet moments when Johnson's Kerr is talking to an interviewer backstage or when Dawn and Mark are exchanging barbs in between affections in their cozy Arizona home.

Somewhere between Alien & Aliens — fitting given its place in the timeline — Romulus serves up blockbuster-level action & visceral horror all in one.

Gladiator II really soars when it does the unexpected and, for the most part, that only happens when Washington, Quinn, and Hechinger are onscreen. It doesn't make for a well-rounded film, but it does make for an entertaining one. For all its faults (of which there are only a few), Scott is still fully in control of this massive undertaking, letting his contemporary sensibilities bleed into the gravity of the past.

A piercing, explicit, and oftentimes sexy study of one 25-year-old's search for identity in a world that has discouraged him from accepting all of himself unabashedly.

It’s thoughtful and quietly devastating. In its insistence to buck conventions of the queer drama, though, it inevitably falls into some of the very traps it hopes to avoid, landing somewhere between expectations and the underwhelming pic it flirts with becoming.

The film presents a bold vision of what movies can and should be and, ultimately, it's a more exhilarating experience to watch a movie of this scale take risks and fall short than it is to see a blockbuster play it safe and deliver mediocre results.

Though the script fails to follow through on some of its promises, the subtext is there and Elordi, Edgar-Jones, and the rest of the cast give quietly devastating performances as their dreams manifest in ways they cannot predict.

While Schrader's directing and the casts' performances are more than up to standard, Master Gardener somehow ends up being less than the sum of its parts.

Margot knows the dangers of social media – her backstory has shades of cliché, but it's still effective in pushing her down the rabbit hole that her coworkers' superficiality precludes them from exploring. That investigation involves a string of missing persons and a killer obsessed with the dark corners of the internet. The biggest issue with Faces of Death, though, is that it's just not all that dark down there.

Beau is Afraid will make one feel alongside its title character in a way few films do, and it's a torturous and glorious ride.

Thanksgiving is special in the way all good slashers are — it's funny and gruesome, with a trashy B-movie energy and a solid whodunit at the center of it all.

It's unclear if Stress Positions has arrived "too soon" but its proximity to the pandemic doesn't make it any less hysterical, even if it's hollow in other areas.

While Red, White & Royal Blue is a little too light on laughs, its central romance follows the book closely enough that die-hard fans will be pleased and casual viewers will be able to find something to love.

With predictable twists and one grating character, the Lionsgate movie tries to do something different from others like it, but it can't quite reach the heights that its main characters aren't (and should be) afraid of.

Unfortunately, Run Rabbit Run is less than the sum of its parts, and even an excellent turn from Sarah Snook can't elevate the movie beyond its basest instincts.

Black Phone 2 is still a solid horror film, with gory kills and exciting set pieces. But the question of why still lingers over the film, even as it delivers on its many promises.

Tetris is a serviceable adaptation, but for all its visual flair and 80s nostalgia, there's still something missing when all the pieces come together.

Scream VI evokes a different kind of nostalgia, taking what made the franchise's original college-set sequel great and amplifying it to a 10. Scream VI is bloodier, scarier, and funnier, nodding to its past while carving a brutal path forward for Ghostface and the new franchise torch-holders who find themselves at the receiving end of the blade.

Fuze may not reinvent the wheel, but sometimes all you need is a solid thriller with a hot cast to really give a film the oomph it needs.

No Hard Feelings is a dual coming-of-age story hidden inside a raunchy comedy that, despite its faults, is both sweet and hysterical, with a chaotic performance from Lawrence that shows the actress can do just about anything.