Ross Bonaime

But despite how charming and fun Elio is, it still falls prey to some of Pixar’s occasional problems. Yes, this is a story of intergalactic adventures and a wide universe of possibilities, but it still can get a bit convoluted at times.

What Song has done is make an excellent version of those types of romance films from yesteryear, yet one where these characters have depth, layers, and are more considered than we might have received in those films.

Ballerina gets off to a shaky start that almost feels like it misunderstands what has made the John Wick series so much fun for so long. Yet once the absurdity of the action takes hold, and Ana de Armas gets to prove herself as a fitting potential heir to this franchise, Ballerina captures the blunt, chaotic action that this series thrives on.

Bring Her Back captures the darkness and fear of losing someone, all while making one of the year’s best horror films. It’s that mixture, like with Talk to Me, that makes Danny and Michael Philippou two of the most exciting filmmakers in the genre.

The Final Reckoning is stuffed, convoluted, and ludicrous at times. But it’s also mostly a great send-off to this universe, a deserved celebration for everything this series has accomplished, and one final (again, seemingly) showcase for Cruise as one of the greatest action stars of all time.

Even though the film does at times feel like it's setting up for future projects, it never feels burdened by this, but rather, like we're seeing the natural progression of where these characters' stories should lead. Thunderbolts* is a pleasant surprise in the MCU; it only took a team-up of Marvel’s unlikeliest superheroes to bring it out in them.

As entertaining as Until Dawn is, it’s fairly light in most regards, other than the kills. While the characters in the game had more time to have intricate connections to one another, these five are fairly one-note.

A Goofy Movie remains an understated film in the Disney animated film canon, and Not Just a Goof wonderfully reminds us why this is a film that deserves far more attention than it ever received.

The problem is that these types of films feel lazy and could do so much more with their concepts, and while Screamboat tries to combat that with tame references, winks at the audience, and absurd violence, it can’t keep itself afloat.

The Luckiest Man in America is a strong story when it sticks to the facts, and Hauser is undeniably an excellent choice for this role, but the film really presses its luck by taking such huge liberties with the facts.

Snow White deserved an update of sorts, and this is an admirable new take that certainly is one of the better live-action remakes from Disney. It might not be the fairest Snow White of all, but it's an admirable effort nonetheless.

The Threesome is not without its flaws, it could absolutely use some fleshing out in some key parts, and its ending feels like a bit of a cop-out, considering everything that comes before it — yet it delivers when targeting the big emotional core that makes this story special.

With a delectable cast and Soderbergh and Koepp knowing exactly how to twist this story with each new scene and reveal, Black Bag is yet another example that Soderbergh can basically make any genre his own, and thrive in it.

The Day the Earth Blew Up: A Looney Tunes Movie shows just how much life there still is in these characters and this world, and that they’re malleable enough to continue providing entertainment to every generation. The Day the Earth Blew Up is the welcome back that the Looney Tunes have long deserved.

The Actor is a film about discovering who you truly are, and it also reveals that Johnson is a captivating, promising filmmaker who hopefully won’t wait another decade to make his next film.

Bong has some cache to make whatever he wants, and he uses this freedom to build a wild and intriguing world that is both humorous and politically charged.

Paddington in Peru might not be at the same level as the first two films, but it’s still absolutely a worthwhile adventure. We’re still getting all the characters and ideas that we love, just packaged in a different way than we’re expecting. If anything, Paddington in Peru proves just how malleable this character is, and how well he can work in either quiet, simple stories or grand adventures.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.

Unfortunately, Bubble & Squeak far more often embraces the ridiculous more than the realistic, and ultimately struggles to combine these two into a whole that works.

Sorry, Baby is a fantastic debut that has announced Victor as one of today's most exciting up-and-coming filmmakers.

Walker-Silverman's film shows that all ends lead to new beginnings, and things can grow back stronger than ever. It's an important sentiment executed exquisitely and makes Rebuilding the film we need for our current times.

Macdonald and Rice-Edwards take us back to the 1970s to explore these two but also show that two of the most important figures in music history were just a pair of flawed individuals trying their best to use their position of power to make the world a better place.

Brooks’ film could’ve come off as extremely silly, but instead, by balancing the tone in just the right ways, it all comes together beautifully.

Together is the type of joyfully demented horror film that was made to be seen in a theater with other people on the edge of their seats. Shanks has such a great handling of exactly what his movie needs at any given moment, and Brie and Franco have never been better.

There are a lot of fascinating ideas Green is throwing into Opus, and it's obvious that this is a fully realized concept that he's worked on for years; not only in the script, but in the extra work he's done in fleshing out this world. Still, we don't see enough of that work come across in the finished product, and the ideas here come off as muddled, failing to connect with the audience beyond a superficial level.

Kiss of the Spider Woman is yet another decent adaptation, but even Condon's visual panache and scale can’t quite elevate this story to greatness.

Considering how electric Stone’s work and life are, SLY LIVES! more than makes up for its standard documentary style through Stone’s gripping story, and Questlove’s exploration of the revolutionary music.

Jimpa is a heartfelt tribute that unfortunately doesn't resonate as much as it should.

The combination of Byrne's haunting, brilliant performance, and Mary Bronstein's unrelenting handling of tone here makes If I Had Legs, I'd Kick You one of the first must-watch films of 2025.

One of Them Days might not necessarily be a great comedy, but it’s absolutely the type of comedy we should see more of in theaters nowadays. Palmer and SZA are a delight, and Lamont and Singleton’s work elevates what could be just a silly comedy into something more.

James Mangold's A Complete Unknown explores the music of Bob Dylan with fantastic care and a great performance by Timothée Chalamet.

The Order is a solid crime drama that sometimes hits too close to home, but that's what makes it so terrifying.

Beyond the ‘90s references, Y2K is an underwhelming, but mostly entertaining movie that never quite goes as far as it should with its concept, comedy, or the relationships between its characters.

Ross has found an overwhelmingly perfect way to bring Whitehead’s story to the screen, one that feels like a step forward for how cinematic stories can be told. It’s beautiful, heart-wrenching, and refreshing in equal measure. Now, Nickel Boys is a masterpiece in two different formats.

Perry’s work in Pavements is one of the wildest and unhinged approaches to a music documentary ever made, but the fact that he pulls it all together into something that isn’t a mess is a testament to Perry’s craft.

Moana 2 explores the possibilities of this universe, and builds on the bond between Moana and Maui, but stays a bit too close to the original's formula.

Flow takes a fascinating and effective approach to animated stories and shows that the barrier between the two types should be broken down more often.

This incredible cast, especially Washington, Nielsen, and the overlooked Pascal, and this expansion of the compelling political machinations make Gladiator II a worthwhile sequel, even if it can't match its predecessor. Gladiator II will leave you entertained, but leave you with an unfortunate feeling of déjà vu.

Christmas Eve in Miller’s Point manages to bring to life a realistic portrayal of the holidays, in both its ups and downs, that few holiday films ever even try to accomplish.

It’s an experiment that only works here and there, yet when it works, there’s beauty in those rare moments.

Road Diary: Bruce Springsteen & The E Street Band is a straightforward yet enjoyable trip with one of the best live bands ever to exist. Yet considering the story that this tour has told so far, it's a bit of a shame that Zimny's documentary doesn't explore the entirety of what this road diary had to offer.

The budget might have ballooned to ten times what Terrifier had, and the kills have gotten far more gruesome, yet Terrifier 3 is still the same mixed bag that this franchise has always been.

Through its exploration of Navajo culture and life on the reservation, as well as the troubles and beauty of that community, Rez Ball smartly explores dark topics in a way that doesn’t suffocate the underdog story within.

Malcolm Washington shows himself to be a capable director, expanding this story in the ways he can while staying true to the source material. This cast also knows how to elevate Wilson's words beautifully, whether it's sticking close to a more stagelike performance or bringing new life to this story, as Deadwyler does.

For Andrews, Bring Them Down is a capable, intriguing debut, but it needs more depth than this revenge tale has to offer.

Ty Roberts’ inspirational sports drama You Gotta Believe relies on age-old playbooks to a fault. It’s a true story and a surefire tear-jerker, but Lane Garrison’s screenplay is reductively hokey at the worst times.

Queer might not be everyone's vibe, especially when it gets wild in the final third, but there's something in the way that Guadagnino brings all these elements together and crafts his own story out of Burroughs' novel that continues his growth as an essential filmmaker of today.

Despite its occasional flaws, The Brutalist is one of the most remarkable films of the year, and proof that Corbet is a fascinating filmmaker to keep an eye on.

Heretic is a clever twist on the religious horror genre, bolstered by three strong performances, particularly Grant’s gregarious yet haunting Mr. Reed.

Friendship truly has all the makings of a future comedy classic.

Emilia Pérez boasts a remarkable trifecta of performances, but Jacques Audiard's ambitious project tries to do a bit too much.

Saturday Night is a loving celebration of SNL that captures the spirit of trying to put on a live comedy show every week.

Smith has always been best when he wears his heart on his sleeve as he does with The 4:30 Movie, a film whose earnestness tries to iron out some of the usual problems with Smith’s films, but with mixed results.

The Friend's heart is in the right place, but it can't get out of its own way.

For a director like Howard, whose work can sometimes be a bit too sterile, Eden is a curious experiment in search of a purpose.

The way Leigh uses these characters to inform us of Pansy’s story is impeccably handled, a sign of a master storyteller that still has plenty to offer.

Adams and McNairy give two fantastic performances that showcase the confused, overwhelming situation that first-time parents find themselves in, and Heller juggles this fantastical high-concept idea with very real emotions and powerful statements.

With Pugh and Garfield leading this tremendous love story, We Live in Time becomes one of the best movie romances in years, and proves that few filmmakers can present the power of love quite like Crowley can.

Winner is a bold idea that almost immediately proves itself to be a misconceived mess.

Like the family at the center of the film, Nutcrackers is rough around the edges, but it's lovable in a shaggy way.

Alien Romulus has a promising beginning and end, but the middle gets a bit too muddled in nostalgia for this franchise.

Watchmen: Chapter 1 is a compelling curiosity, but never matches the power of its source material, and, if anything, should make people turn to the graphic novel instead of checking out yet another adaptation.

Trap is another promising thriller from M. Night Shyamalan, but his filmmaking choices simply can't do this conceit justice.

With Made in England: The Films of Powell and Pressburger, Hinton shows the legacy that films can have and how time can benefit films that don’t receive the recognition they deserve.

Deadpool & Wolverine is a shot in the arm that the MCU needed, and finally shows the full potential of Ryan Reynolds' Deadpool.

Longlegs takes a bit to get us settled into its brand of horror, but once it does, it’s hard not to be impressed by the place between here and there where we find ourselves.

Inside Out 2 takes complex ideas and emotions and turns them into a delightful animated adventure, and one of Pixar's best films in years.

Louis-Dreyfus is subtly excruciating in her grief here, and it’s marvelous to watch her work in a story that allows her to play with such a range of feelings.

Jim Henson Idea Man is an adoring look at this remarkable man that never slips into hagiography, yet, it’s a documentary that will only make you appreciate the multitudes that made Henson who he was.

Gasoline Rainbow blurs the line between documentary and narrative filmmaking to create a road trip movie unlike you’ve ever seen before.

When the film gets going in its tremendous third act, complete with a moving surprise that reconfigures the entire film, IF becomes a magnificently emotional experience, cathartic and enchanting in equal measure, and just the type of original idea we need more of on this scale at the movies.

Kingdom of the Planet of the Apes explores the past while creating a new future, starting this fresh angle on the series to a rocky, but promising start.

Seinfeld has made a directorial debut that ends up feeling like a bowl of sugary cereal: not a terrible thing to eat, but not as fulfilling or substantial as you might’ve hoped it would be.

Challengers is a wild love triangle story, punctuated by three excellent performances and tremendous talent behind the camera.

Bombach’s documentary shows that there's much more to the Indigo Girls, presenting a remarkable duo who have not only meant the world to countless people, but have used their music and their platform to change the world as best they can.

With The Greatest Hits, Benson gives us the film equivalent of an album with a cool cover that masks the inadequate record within.

Stevenson's debut feature is a smart handling of horror with imagery that won't soon leave your mind, elevated by an uncomfortable performance by Free. Stevenson shows how to bring a franchise back from the dead, and proves that maybe this series doesn't have to be all just for Damien.

The People's Joker is a bold vision, a mixture of a coming-of-age story and parody, infused with a transition story that is emotionally powerful and absolutely necessary.

Blood and Honey 2 still isn’t exactly “good,” and it might be a bit premature to start working on a sprawling Poohniverse, but considering the dregs this series began at, this is a flawed improvement that’s still a bear of little brain.

Godzilla x Kong is a vacuous de-evolution into monster-on-monster action but also arguably the best possible version of that transition. There’s no doubt that this is fairly moronic, but it still manages to be an improvement over what we’ve seen from the last two installments in this cinematic universe.

Frozen Empire attempts to evoke the past with constant callbacks, while trying to make the audience care about a more modern story with characters for a new generation, and ends up failing on both counts.

Grand Theft Hamlet shows how incredible it is to see how a new medium of storytelling can shift what we know of a beloved work and put it into an entirely new context after centuries.

Imaginary is a mess of a horror film, with poor narrative choices, obvious twists, and clichéd characters.

Kung Fu Panda 4 is a film all about deciding to not do the easy thing of remaining stagnant and comfortable, but rather, trying something new and hopefully finding the greatness in the new opportunity. Kung Fu Panda 4 similarly does this, attempting a new approach to this world and mostly finding success, while also potentially setting up the future of where this series could go.

Torres' humor might be too niche for some, but Problemista shows that it can be used to tell a compelling and heartfelt story for the masses.

Spaceman is a rocky journey, but in times like these and thanks to Sandler’s performance, it’s often worth the trip.

Drive-Away Dolls, the solo directorial debut of Ethan Coen, is an occasionally charming road trip comedy that never quite reaches the wit and brilliance of other Coen projects.

Silver's vision doesn't always work, sometimes feeling like a mishmash of ideas and tones that don't always go well together. But when the film focuses on this central relationship, Between the Temples finds a lovely sweet spot that makes it all sing.

Thelma could’ve been a one-note joke, but Margolin’s script makes being elderly a strength and not a weakness.

It's a deliberately-paced drama with some decent performances and a gorgeously dark aesthetic, but lacks the time or effort to give these stories what they need.

The Greatest Night in Pop is a worthy story in its own right, but a bit more of the director's touch could've done justice to this gigantic achievement of pop music history.

It's a delightfully smart and ambitious story that is equally powerful for children and adults alike.

The American Society of Magical Negroes is a film that needs bite for its high concept to work, and unfortunately, Libii’s film doesn’t have teeth.

The editing in Super/Man is perfectly handled, taking what could’ve been a straightforward documentary and turning a life into a collection of what makes us who we are—both the good and the bad.

The film isn’t without its flaws and weird choices, but the fact that it works at all is a testament to the Zellner brothers and this incredible cast being willing to give their all for such a deranged idea.

Schimberg’s exploration of identity and representation has the best of intentions, but the more audacious aspects of A Different Man often overwhelm the interesting themes at the center of the film.

Director Nora Fingscheidt adapts Amy Liptrop’s memoir of the same name like a master conductor, melding the past and present expertly to create a staggering look at addiction through a magnificent performance by Ronan.

My Old Ass manages to show youth from two different perspectives in an endearing and sympathetic way and shows that Park is a remarkable talent that can capture intricate, hard-to-present ideas with ease.