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.

The Shitheads is an enjoyable, dark take on the buddy-road comedy that could've maybe used a bit more finessing, but hopefully this isn't the last time we see Blair try this type of comedy.

I Want Your Sex proves that every generation needs its own Araki film.

With undertone, Tuason has created one of the few horror films that’s even more horrifying to hear than it is to see.

Gail Daughtry and the Celebrity Sex Pass is as unhinged as the name implies, and it’s exactly what we’d want from Wain and Marino. These two have proven that their brand of comedy hasn’t gotten old over the decades, and thank goodness they’re back making the most insane movie comedies out there.

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.

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.

Buddy is a blood-soaked nightmare full of dark humor and surprisingly touching moments. Like its title character, Buddy isn’t just fluff, there’s something deeper inside.

A little more full-throated absurdity and humor would've been a great step for the film to take. Ultimately, The Moment is a delightful spotlight for Charli XCX as an actor, and the concept itself finds some playful ways to expand on the lore of of her massively successful album. "brat" is dead. Love live "brat."

If The History of Concrete proves anything, it’s that Wilson can make a movie about anything and make it absolutely brilliant.

Carousel definitely has some rough edges on the fringes of this romance story. But when Lambert gives us the quieter moments of Noah and Rebecca, or puts them together in a scene, it’s absolute magic.

With bad direction, terrible acting, and a world that has no weight behind it (especially since most of it was clearly made in a computer), this isn’t the way to bring Silent Hill 2 to the big screen. This powerful survival horror story has been turned into an ugly, laughable adaptation that proves that maybe we should’ve never gone back to Silent Hill.

All You Need Is Kill might not be as impactful as the Takeuchi / Obata manga, or Tom Cruise’s live-action update, but it does make some intriguing choices that will absolutely be worthwhile for fans of these other versions to check out.

A Private Life is worth exploring simply for the performance by Foster, which keeps this story moving the best she can, despite the screenplay’s constant starts and stops. If anything, the real mystery of A Private Life is why we don’t get to see Foster on our screens more these days.

A stunning movie that continues to solidify the franchise's legacy as one of the best zombie stories to ever hit theaters.

This third Avatar film might not have the groundbreaking impact of the first film, or the vast improvement that The Way of Water had over what came before it, but Fire and Ash is still an exceptional moviegoing experience that proves there’s still plenty of gas in this tank.

Kill Bill: The Whole Bloody Affair might not be Tarantino’s masterpiece, but it’s a brilliant example of a filmmaker with a deep-seated love of movies fully embracing his inspirations and passions in grand fashion.

It'll get your heart pumping from the very beginning, rarely giving you time to breathe, and boasts a lead performance from an actor who's truly in command of his greatness.

Kotevska isn’t just telling a story of a farmer in a foreign land; she’s constructing a story that we can all relate to in our current world, in one of the finest documentaries you’ll see all year.

Come See Me in the Good Light is a shattering, yet lovely documentary that’s easily one of the best of the year.

Maslany can effectively react to shadows and reflections, and Perkins can navigate this cabin to maximize its horror potential, but without the screenplay to back them up, this just becomes a curious experiment without much focus.

Miroirs No. 3 is enthralling from beginning to end, a smart, often heartbreaking story that thrives in its simplicity.

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.

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.

Train Dreams is without a doubt one of the most extraordinary films of this year, the type that will stick with you, deep in your mind and heart, long after the credits roll.

After all these years, Left-Handed Girl is a terrific return to directing for Shih-Ching Tsou, who crafts a wonderful, often moving, and splendidly told story of three characters coming into their own.

Little Amélie or the Character of Rain is, without a doubt, one of the best and most touching animated films to come out this year, a remarkable example of what this style of storytelling can do.

As those familiar with Chomet's work would expect, A Magnificent Life is an exquisitely animated film to watch, even if the narrative is a bit rote. But it also makes one think that maybe the original concept for this as a documentary of Pagnol’s life could’ve been more effective and illuminating of what made him such a great artist.

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.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

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.

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.

The Secret Agent is a remarkable work from Mendonça Filho; a beautifully composed film that features some of the best directing, editing, and writing of the year, as well as an enthralling performance by Moura that deserves its accolades.

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.

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

Tron: Ares isn’t likely to turn Tron into the major franchise Disney has clearly wanted it to be for decades, but it is a sign that the company has a smarter understanding of what these movies need to be: exciting to look at, with a great soundtrack, and with a story that’s dumb fun. Tron: Ares not only achieves that, but finds fun ways to fit in the other installments that make you actually want to see more installments in this world, as opposed to having them forced upon us. Tron: Ares isn’t a killer app, but it is a solid upgrade.

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

While it’s certainly great that Daniel Day-Lewis is back in his element, and Ronan Day-Lewis can craft impressive, imposing imagery, Anemone is just too much empty space, waiting to be filled with something.

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 Strangers: Chapter 2 is a true disaster, one of the worst horror films of the year, and it’s a damn shame this is what this franchise has come to.

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.

The vibe of Him is trying to make the audience unnerved, but the story and imagery being presented are too goofy to take this attempt seriously.

Anderson has executed an unbelievably rare feat: a big-budget studio action film that maintains his specific tone and style, with a film that feels essential to our troubled modern times.

Fuze has the bones of a great idea, and one that does seem like a great fit for Mackenzie, given his past work. But Hopkins’ script is too generic an action exercise, from its bland plot to its nothing characters, that it’s hard to find anything to truly care about.

Steve is an adequate film about teachers, students, and the struggles that they both go through, but it’s also hard not to think that a bit more insight into the lives of the students earlier on — particularly from the perspective of Shy — could’ve made this into something even more special.

Glenrothan is cloying at times, but more often, irritating in its presentation of a story we’ve seen so many times before, done poorly.

A Big Bold Beautiful Journey tries to be too big and too bold, when it’s the smaller moments in which this film becomes a beautiful journey.

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.

Edward Berger's latest is all style and no substance, despite giving Colin Farrell a weird role to sink his teeth into.

An intriguing formal experiment from Steven Soderbergh, focused on two solid performances by Sir Ian McKellen and Michaela Coel.

Quite frankly, it never hurts for a film to preach the dangers of Nazis and how they can be anywhere and everywhere, but it is a bit of a shame Nuremberg isn’t finding a more compelling, enticing way to tell this inherently fascinating true story.

The Grand Finale tries to bring some weightiness back into this world, and, for the most part, it works with a fitting conclusion to this universe.

Rental Family’s intent is to create a satisfying, touching, and ultimately emotional film with sweet performances and quiet drama, and that’s exactly what it delivers.

As a ridiculous tale of a celebrity trying to make himself matter, Sacrifice is quite a bit of fun, but any attempt to make a larger point falls flat, just like so many films before it.

No Other Choice is yet another great film from Park, and one of the best dark comedies you'll see this year.

Eternity is a cute rom-com with a great cast, but it could've used more exploration of its afterlife.

Guillermo del Toro's passion project is beautifully crafted, but can be quite exhausting to get through.

Hamnet captures the beautiful aching that makes up life in all its forms, and it makes for one of the most profound and staggering works you’ll see this year.

For a story that should be brimming with intrigue, danger, and the horrors of inventing your own reality, The Wizard of the Kremlin is instead a bloated, tiring recitation of facts that doesn't know how to elevate its dark subject matter.

Three films in, Johnson continues to surprise and amaze with his ability to craft a masterful tale, one that hits everything we love about this series, while still finding new angles to approach in this world.

As a platform for Sweeney to show her broad talents as an actress, Christy is undoubtedly successful, as she finds the heart and sadness within Christy Martin. But Michôd's film doesn't make that life story quite as riveting as it should be, which is what Martin deserves.

A tremendous work from Jafar Panahi that might go down as his masterpiece.

Linklater reminds us that he's still able to make two people simply sitting around and talking fascinating. After all these years, the pair of Hawke and Linklater remains a winning combination.

Caught Stealing, on the surface, doesn’t look like what we expect from an Aronofsky film, and yet, once you dive deeper, it seems like the most obvious version of a dramedy crime-thriller that the director could make. The film isn’t afraid to get its hands dirty and go to some truly dark places, yet it always manages to come back to a place where this story becomes entertaining again.

As it stands, The Roses has its charms, but it could’ve used a few more thorns.

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.

Americana is an interesting modern take on the Western, with a standout performance by Halsey.

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.

Cregger shows with Weapons how perfectly he can balance horror and comedy in equal measure, always walking the line between these two in a film that is both unsettling and deeply funny. Because of this, Cregger has made what might end up becoming the best horror film of 2025.

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

The Bad Guys 2 is a gorgeous, fun animated film that occasionally spreads itself too thin.