Ross Bonaime

The Drama is a film that will stick in your mind long after you’ve left the theater.

They Will Kill You is an undeniably fun and berserk action film that relies on the style to make up for the lack of discernible substance. For the most part, They Will Kill You pulls this off, and it’s easy to get caught up in just how much this cranks itself to 11.

Mike & Nick & Nick & Alice is a ridiculous adventure that is constantly surprising, unexpectedly touching, and truly hilarious.

Pizza Movie is a charming throwback to the stoner comedies that inspired it, an ambitious college movie that knows how to take a simple idea and turn it into something broad, wild, and expansive. While the joke might start to get a bit thin near the end, Pizza Movie is a clever bit of fun, and we definitely need more broad comedies like this in the world.

The Sun Never Sets is a charming take on the love triangle and a strong return to movies for Swanberg. The mixture of Fanning, Johnson, and Smith works well, and this romance is handled quite nicely without becoming frustrating with all its relationship back-and-forths.

Sender wants to put us in the perspective of an addict, but instead, it always leaves the audience feeling like it’s missing something, not quite in step with what the film is trying to express. Goldman has a lot on his mind, but Sender sometimes feels like when you have too many ideas, and you try to say them all at once, but it comes out garbled and confusing.

While Kill Me doesn’t stick its landing, this is an impressive debut from Peter Warren, and it shows how well he can mix extremely dark subject matter with an engaging mystery that’s also quite funny.

What starts as a more violent Mr. and Mrs. Smith takes an unexpectedly brutal turn, becoming borderline unamusing. Taccone pushes himself to try and break from his usual comic mold, but with Over You Dead Body, he ends up pushing too far.

Brian is an absolute blast and a hysterical coming-of-age story, centered on an impressive lead performance by Ben Wang, and an absolutely perfect handling of character and tone by Ropp and Scollins. Brian deserves to be amongst the great high school coming-of-age comedies that paved the way before it.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.

When it focuses specifically on the scares, Hokum is an effectively disconcerting film that relies on time-honored basics to really get under the viewer’s skin.

Compared to his other recent work, Carney’s latest pulls back a bit on the music and leans more into the comedy side of things, yet Power Ballad maintains the heart and optimism that is brimming from all his films, and hopefully, it will get the attention it deserves.

Ready or Not seemed to close the book on Grace's story, but Here I Come effectively shows that there are still potentially chapters to explore in this tale. Did we need a sequel to Ready or Not? Probably not. But hell yeah, it's great that we have one.

Einbinder, Reynolds, Gluck, and Theroux are appealing as a team, but Strouse doesn’t give them any weight on their own, which leaves this story feeling fairly one-dimensional. Seekers of Infinite Love will, unfortunately, leave you searching for more.

I Love Boosters is full of major swings and plenty of individual concepts that could take up an entire film, yet Riley balances everything this movie is trying to do quite well.

Lord and Miller have created a new sci-fi classic, an incredible adaptation of Weir’s novel, and a film that deserves to be a part of 2027 Oscar consideration already. With Project Hail Mary, Lord and Miller have crafted a film that’s truly out of this world in every possible way.

Hoppers is an absolute delight, setting the bar high for animated films this year, while creating a film that reminds us just how amazing Pixar still is at making new, exciting worlds and stories, without relying on sequels.

Scream used to poke fun at the silliness of horror movies and laugh at the genre's clichés, but now, it’s indistinguishable from the films it once gleefully lampooned, in what is easily the worst installment so far.

The McManus brothers have crafted something that manages to be both sprawling and intimate, complex yet without becoming convoluted. Redux Redux is a strong indie sci-fi film that will make you excited to see what the McManus brothers have up their sleeves for next time.

There are fractured elements that, with a little polish, could’ve been something much more, but this is just a generic, unremarkable horror film.

How to Make a Killing is a fun, albeit flawed thriller drama with a mildly dark sense of humor.

Even if The Musical isn’t always a hit, it’s worth it when the film does find its high notes.

Stanton has done truly incredible, groundbreaking things in animation, and he’s almost certainly got a great live-action film in him, but In the Blink of an Eye makes one wonder if Stanton should go a bit smaller and work his way up to such grandiose concepts like this.

The Best Summer takes the audience on a summer road trip with some of the biggest musicians of the '90s, and it's a blast to be along for the ride. Davis' collection of videotapes makes this feel like we're coming across a collection of private moments, rather than a concert documentary.

Granted, the footage itself and the intense quest to save these eight still make Hanging by a Wire a documentary worth seeking out. It’s just one that doesn’t have as much depth as one would hope.

Even though zi isn’t quite the powerhouse of independent cinema that films like Columbus and After Yang were, it does feel like the work that Kogonada needed to do in order to right his sails and figure out where to go next.

This Strangers trilogy was an ambitious concept that quickly became a disastrous failure that completely misunderstood this series to begin with. Even after all this build-up, this final chapter fizzles out to an underwhelming conclusion of a journey that wasn’t worth taking to begin with.

The Gallerist is a disappointment, especially considering that Yan’s last movie as director was the vastly underrated DC film, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) from 2020, a hyper-stylized, playful, and unconventional take on the superhero genre. It would’ve been wonderful to see that version of Yan here, creating an unhinged look at the art world that was experimental, spirited, and daring in the way that film was.