Ross Bonaime

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

Love Lies Bleeding is an exhilarating experience that will make you groan, laugh, cringe, and swoon. This is a remarkable second film from Glass, showing her tremendous ability to build tension and create an entirely unpredictable thriller that won’t be easy to forget.

The Invite might seem like a simple idea, but Wilde, as well as Jones, McCormack, and her excellent cast, make this into a compelling, delightful, and moving comedy that's more intricate than it might seem.

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.

After a decade away, Jeunet has returned to embrace all of his worst eccentricities to create an absurd mess.

Empire of Light ultimately becomes a confusing mixture of ideas that never congeal into one solid narrative. Yet Mendes’ film does have the tiniest slivers of magic poking through the seams, proving his thesis about the beauty of film, even when he’s too distracted to focus on that idea himself.

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.

That’s the beauty of what Carney has created here, a film that wraps you in and absorbs you with its loveliness and charm, to a point that you don’t want to leave its presence.

Boys Go to Jupiter is the type of animated feature we need more of: experimental, unusual, yet fun and familiar.

Williams’ story of coming out and acceptance is both riveting and often touching, and Bernal gives quite possibly his best performance in this beautiful story of finding yourself and becoming who you were always supposed to be.

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.

Audiard, Mysius and Sciamma, along with their fantastic cast, create an enchanting and seductive story told through an intimate group of relationships. This beautiful and simple story of young love and finding one's self through love is one of the most romantic and sexiest films of 2022 so far.

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.

Emily the Criminal is an excellent example of how to make an effective thriller on a smaller scale.

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

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.

Stiller & Meara: Nothing Is Lost isn’t just a loving tribute to the great comedy duo of Stiller & Meara; it’s also a beautiful look at how much our closest ones impact us both during their lives and after they're gone.

Until the Wheels Fall Off could’ve maybe explored Hawk’s personal life with a bit more focus, but Jones still creates a captivating, edge-of-your-seat documentary that manages to make the idea of landing a trick a genuinely moving scenario.

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.

The Bob’s Burgers Movie isn’t exactly breaking new ground for this world and these characters, but instead, is showing how impeccably crafted and brilliant this world is when it's firing on all cylinders.

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.

DuVernay took a big swing with Origin, and that’s certainly to be commended, but the film sadly doesn’t work more often than it does. The impact of the end makes the journey worthwhile, but it’s a rocky road to that conclusion.

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.

A House of Dynamite begins explosively, but unfortunately, it ends up fizzling out.

It is a delightfully bizarre film that is always unexpected while being perfectly balanced by the two lead performances of Edebiri and Sennott.

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.

Jackass Forever is ingenious, disgusting, and one of the most hysterical films you’ll see this year, while also managing to be a wonderfully touching celebration of these jackasses and their history together.

In a filmography that is full of impressive journeys through space, history, and staggering emotions, Armageddon Time feels like one of Gray’s most ambitious tales so far, even if it isn’t quite as effective in presenting its ideas as it should be.

Rowe and co-director Kyler Spears are able to make this world action-packed, exciting, abnormal, and humorous in equal measure, and by focusing on making these TEENAGE Mutant Ninja Turtles into authentic youths, Mutant Mayhem takes characters we’ve seen over and over again and makes them fresh once more.

Woman of the Hour is a tight, smartly handled thriller that may stumble at times with its thematic ideas, but wins you over with its deft handling behind the camera.

Dream Scenario is like a strange dream that doesn’t quite go in the direction you would’ve hoped, but still, you’re glad you got to experience that vision.

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.

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.

Creed III honors the past while looking forward to the future, and gives Jordan—both the actor and the director—the spotlight in a way that shows his immense talents.

Even though it is a fairly straightforward, surface-level doc at times, A Disturbance in the Force is a worthwhile look at accepting the flaws of the past, the media of the 1970s, and a period when the biggest franchise in the world could do some weird-ass shit that would still (mostly) be embraced by the fans.

Affleck makes Air look easy, a director who knows exactly what he’s doing, and knows how to build anticipation, work our excitement, and tell a story about a shoe that is truly enthralling and gripping.

With a flair for the surreal and fantastical, it’s easy to see how Fuller’s feature debut could become a cult favorite just like his shows have.

Lucy and Desi isn’t breaking the mold in terms of biographical documentaries, but when put together in this package, the story of Ball and Arnaz has an impressive weight beyond just a collection of compelling anecdotes.

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.

Emergency is ambitious and daring in what it’s trying to say and do, but a mishandling of pacing, serious issues, and pseudo-parody hurt what is a truly intriguing concept.

Funny Pages is a beguiling debut, but it’s also one of the most compelling and unique takes on the coming-of-age genre in years.

Like the title character himself, Jay Kelly is a film that has good intentions, but doesn’t have the follow-through to make good on those promises.

When Jones and McNairy are playing off each other, Fairyland really finds the beauty of this story. Especially in the third act, as this relationship becomes more difficult and uncertain, both present themselves as people who struggle with the balance of doing what's right for themselves and doing what's right for each other.

From the gorgeous cinematography by Erik Messerschmidt, the mesmerizing Daniel Pemberton score, a towering performance by Cruz, and Martin’s screenplay that reflects as much on Enzo’s insular battles as well as his public ones in equal measure, Ferrari is one of Mann’s best film in years.

Figgis’ Megadoc is an engrossing look at one of the biggest pet projects of all time, a film that lived in Coppola’s brain for so long and struggled to come to life on the screen effectively. Megadoc shows that while it's great to bring your passion to life, sometimes, it wasn't meant to be.

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.

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.

Fire Island is a strong update to Austen, full of charm, heart, and friendship, yet Booster's screenplay works best when it is not relying on the source material and having fun with this fun concept. With an excellent cast and a perfect blending of Ahn and Booster's talents, Fire Island is an extremely enjoyable trip.

Eichner and Stoller have written a film that plays to both of their strengths as storytellers, all while making one of the funniest and most romantic films of 2022.

Berg’s documentary is at its strongest when it focuses on the musical legacy that Buckley was so concerned about that he would leave behind, and less so when it tries to delve deeper into who Buckley was as a person.

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

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.

Pomerantz’s screenplay is deceptively complex, yet it’s pulled off effortlessly. Pomerantz is presenting ideas of self-discovery, lifelong friendships, confusion and uncertainty in who a person is, and handling all this in a remarkably entertaining and endearing story.

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.

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.

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.

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.

With Bugonia, Lanthimos elevates an already fantastic concept, making an essential film about the world we live in and just how insane and hopeless it can feel at times.

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

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

Metal Lords ends just when it feels like it’s finding its footing, with its characters taking too much time to address their flaws, leaving the music and the bonds that have been formed via the music, on the back burner for too long.

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.

From its narrative that blends so many ideas exquisitely, to the gratifying characters and narrative arcs, to the absolutely stunning animation style, Arco is quite possibly the best animated film of the year.

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.

Sometimes I Think About Dying is a dark comedy of restraint and quiet, but that silence holds an incredible amount of power and emotion. Ridley gives what might be her best performance, and Lambert knows exactly how to balance the delicate mood of the film.

Eileen is an intriguing little story that shifts and alters the further it goes, playing with the audience, and giving them the opposite of what they’re expecting. Eileen isn’t going to be everyone's cup of tea—especially those who think they know exactly what they're getting themselves into—but Eileen is an admirable bit of defiance that is a joy to live inside for 90 minutes.

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

Predator: Badlands might not be the shock to the system that Prey was, but it is continued proof that putting Predator in Trachtenberg's was one of the smartest moves this franchise has ever made. The writer and director continues to find brilliant, fascinating ways to explore and expand the Predator movies to an exhilarating level, making this series better than it ever has been.

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.

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.

The Survivor is too frequently going through the motions of tried-and-true biopic stories that we’ve seen countless times before, or making choices that seem daring, but ultimately hold back the power of Harry’s story.

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.

Theater Camp isn’t without its weaknesses, but the hilarious cast—like their characters—are game for anything, and the jokes are flying fast and mostly landing.

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

Some might criticize Tancred’s approach to this mystery, which meanders, goes on tangents, and follows several red herrings over the course of its two hours. Yet it’s precisely that free-flowing style that makes Last Stop Larrimah so unique.

As Ibsen’s play has shown, even a century after its writing, this is still a story with life in it, and DaCosta’s take modernizes it in deft ways. However, the questionable way DaCosta's film goes about it doesn’t do the story justice, making this a party that fizzles out long before the last guest has left.

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

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

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

Mrs. Harris Goes to Paris is a quiet delight, a perfect summer interlude that exudes beauty, optimism and charm in every scene. Mrs. Harris Goes to Paris feels like capturing joy in a bottle.

Even though Sidney takes a fairly elementary look at Poitier’s career, it’s still extraordinary to see the contributions this man had on the world lined up in this way. Poitier left an indelible change on entertainment, the culture, and society at large, and Sidney makes us aware that this world wouldn’t be the same without Poitier.

Weird might not be the best biopic parody (Walk Hard still holds that crown), but it is an absolutely charming and often hilarious look at the world’s greatest parody musician, packed with an excellent cast that wants to pay tribute to this weird man. Weird dares to be stupid and succeeds because of it.

It is exciting to watch a writer and director like Garland take a huge swing like Men, even if it doesn’t entirely hold together as tightly as something like Ex Machina or Annihilation. Men is certainly more about asking questions than providing answers, a challenging, strange, and often horrendous journey that certainly doesn’t hold back in terms of weirdness, and wants to crawl into the viewer’s brain.

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.

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.

Relay is a tense, edge-of-your-seat ride that reminds you that they do still make them like they used to, it’s just, unfortunately, not nearly as common anymore.

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.

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.

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.

It’s entirely possible you won’t see a scarier movie this year than Orwell: 2 + 2 = 5.

Are We Good? isn’t just an enthralling look at pain, loss, and how we handle unexpected grief; it’s also a reminder that life is always full of surprises — both good and bad — and that unexpected journey will certainly have you asking "WTF?" throughout.

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.

In just under two hours, Apatow and Berkeley truly do their best to cover every facet of Bamford, and it is an impressive document of her greatness.

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.

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.

With only two films, Raiff has proven himself to be one of the most exciting filmmakers today, telling stories that are emotionally honest and lived in, without any pretensions and with an unabashed tenderness.

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.