Ross Bonaime

Emilia Pérez boasts a remarkable trifecta of performances, but Jacques Audiard's ambitious project tries to do a bit too much.

Saturday Night is a loving celebration of SNL that captures the spirit of trying to put on a live comedy show every week.

Smith has always been best when he wears his heart on his sleeve as he does with The 4:30 Movie, a film whose earnestness tries to iron out some of the usual problems with Smith’s films, but with mixed results.

The Friend's heart is in the right place, but it can't get out of its own way.

For a director like Howard, whose work can sometimes be a bit too sterile, Eden is a curious experiment in search of a purpose.

The way Leigh uses these characters to inform us of Pansy’s story is impeccably handled, a sign of a master storyteller that still has plenty to offer.

Adams and McNairy give two fantastic performances that showcase the confused, overwhelming situation that first-time parents find themselves in, and Heller juggles this fantastical high-concept idea with very real emotions and powerful statements.

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.

Winner is a bold idea that almost immediately proves itself to be a misconceived mess.

Like the family at the center of the film, Nutcrackers is rough around the edges, but it's lovable in a shaggy way.

Alien Romulus has a promising beginning and end, but the middle gets a bit too muddled in nostalgia for this franchise.

Watchmen: Chapter 1 is a compelling curiosity, but never matches the power of its source material, and, if anything, should make people turn to the graphic novel instead of checking out yet another adaptation.

Trap is another promising thriller from M. Night Shyamalan, but his filmmaking choices simply can't do this conceit justice.

With Made in England: The Films of Powell and Pressburger, Hinton shows the legacy that films can have and how time can benefit films that don’t receive the recognition they deserve.

Deadpool & Wolverine is a shot in the arm that the MCU needed, and finally shows the full potential of Ryan Reynolds' Deadpool.

Longlegs takes a bit to get us settled into its brand of horror, but once it does, it’s hard not to be impressed by the place between here and there where we find ourselves.

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.

Louis-Dreyfus is subtly excruciating in her grief here, and it’s marvelous to watch her work in a story that allows her to play with such a range of feelings.

Jim Henson Idea Man is an adoring look at this remarkable man that never slips into hagiography, yet, it’s a documentary that will only make you appreciate the multitudes that made Henson who he was.

Gasoline Rainbow blurs the line between documentary and narrative filmmaking to create a road trip movie unlike you’ve ever seen before.

When the film gets going in its tremendous third act, complete with a moving surprise that reconfigures the entire film, IF becomes a magnificently emotional experience, cathartic and enchanting in equal measure, and just the type of original idea we need more of on this scale at the movies.

Kingdom of the Planet of the Apes explores the past while creating a new future, starting this fresh angle on the series to a rocky, but promising start.

Seinfeld has made a directorial debut that ends up feeling like a bowl of sugary cereal: not a terrible thing to eat, but not as fulfilling or substantial as you might’ve hoped it would be.

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

Bombach’s documentary shows that there's much more to the Indigo Girls, presenting a remarkable duo who have not only meant the world to countless people, but have used their music and their platform to change the world as best they can.

With The Greatest Hits, Benson gives us the film equivalent of an album with a cool cover that masks the inadequate record within.

Stevenson's debut feature is a smart handling of horror with imagery that won't soon leave your mind, elevated by an uncomfortable performance by Free. Stevenson shows how to bring a franchise back from the dead, and proves that maybe this series doesn't have to be all just for Damien.

The People's Joker is a bold vision, a mixture of a coming-of-age story and parody, infused with a transition story that is emotionally powerful and absolutely necessary.