Ross Bonaime

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.