Ross Bonaime

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

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.

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

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.

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

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.

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.

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.

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

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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

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.