Ross Bonaime

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.