Ross Bonaime

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.

It ends up becoming one of the best DC films in years, and one of the best movies of the summer.

F1 is an absolute blast and one of the most exciting films to come out this summer, a film that will put you on the edge of your seat and make you glad that filmmakers like Kosinski are still making films like this today.

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.