Ross Bonaime

Sachs’ story comes to life thanks to these three excellent performances that aren't afraid to explore the selfishness and desires of passion, in a story that finds the power of shared pain and love.

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.

In this David vs. Goliath battle, the film gives hope that change on a large scale could be possible and does this in a charming, entertaining narrative with a great cast from top to bottom.

Still: A Michael J. Fox Movie can be a bit standard as far as biographical documentaries go, but when the subject is someone as much to watch as Fox is, it’s hard to care too much about the form when the content is so captivating.

Magazine Dreams is a difficult and challenging watch, bolstered by an incredible performance by Majors that could easily end up being one of the year's best.

This Much I Know to Be True might not dig as deep into the lives of Cave and Ellis as one might hope for a film billed as a documentary, but the performances captured here more than make up for that.

I Love You Dad has its heart in the right place with its cringey narrative and story of how much forgiveness those who love us truly deserve.

Wonka is a bit shaggy, with too many moving parts, but its spirit and its optimism—and a fantastic performance by Chalamet—make up for the film’s weaknesses.

Even if you’re not a fan of the music of Tucker or Carlile, The Return of Tanya Tucker: Featuring Brandi Carlile will have you hoping for the best for both of these incredible musicians.

Instead of having to explain this universe, The Secrets of Dumbledore can let us sit with these characters reckoning with the loves they’ve lost in quiet and gentle ways, create a captivating and often hilarious action sequence with a multitude of beasts, or explore the history of Dumbledore’s family with subtlety.

Structurally, Missing can often feel a bit too much like Searching at times, but by the end, it finds its own path in this intriguing way to tell a mystery.

In a career full of great performances, Swinton continues to do some of her finest work with Hogg, and Hogg once more proves that she’s one of the most remarkable personal storytellers in cinema today.

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.

The Little Mermaid might not match the greatness of the original, but it’s the rare remake that feels worthy of being part of our world.

Hardiman’s feature debut is ambitious, even if the overall structure doesn’t always work, and the mystery isn’t as engrossing as it maybe should be. Yet, for all its flaws, it makes up for it in style and its wild cast of characters.

At its very core, Knock at the Cabin works because it reminds of the early days of Shyamalan, when he felt like the next coming of Alfred Hitchcock, and his films would leave the audience talking for days after.

By focusing on the gray between the good and the bad, and with a scale and scope that the other films never quite had, The Ballad of Songbirds & Snakes might just be the most engrossing film in this series—and almost makes one wish there were more stories here to be told.

Miller’s modern fairly tale is full of beauty, love, and care, even if the film often focuses on the grand instead of the modest moments.

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.

Simply put, Cocaine Bear is exactly what you want. It's a film that knows that it's ludicrous and relishes in the wildness of watching a cocaine-fueled bear go nuts on Blood Mountain.

The Marvels is the shortest film in the MCU so far, and it’s great that DaCosta has made a movie that is short, sweet, and yet, ends up being more impactful and playful than most Marvel films. In a universe that often feels suffocated by the amount of history, dense storytelling, and character awareness needed to enjoy these films, DaCosta figures out how to handle all of that in one of the most fun Marvel films in years. It’s kind of a marvel.

Like the relationship between Lynsey and James, Causeway is a film that slowly grows on you, a film that puts on a tough front—with its devastated characters and desire for escape—yet at its center is a tremendous about of heart, love, with its found families and shared pain.

By cutting back and simply sticking to the thrills and the madness of this situation and little else, Bay has made one of his best films in decades.

Black Adam isn’t a full-on course correction for the DCEU, but it is an encouraging new installment in this larger universe. Collet-Serra knows how to present this darkness and antihero in a way that’s effective, while also fleshing out one of the most promising additions to DC’s ever-expanding cadre of characters.

Ashford’s screenplay and Madden’s excellent direction all manage to take what could’ve easily been a fairly standard historical war drama and turn it into something more intricate, layered, and surprisingly powerful.

Eileen is an intriguing little story that shifts and alters the further it goes, playing with the audience, and giving them the opposite of what they’re expecting. Eileen isn’t going to be everyone's cup of tea—especially those who think they know exactly what they're getting themselves into—but Eileen is an admirable bit of defiance that is a joy to live inside for 90 minutes.

Little Richard: I Am Everything has to do a lot in its relatively short runtime, from exploring the origins of the musician, explaining both sides of his personality, and also diving into Richard’s influence on the future of music. Thankfully, Cortés’ documentary handles all this beautifully, and will make the viewer want to immediately learn more about Richard, his extremely fun work, and the life that impacted so many around him.

On paper, it already doesn’t seem like it makes sense as a Blomkamp film, and on the screen, he makes even less sense for this project. In the world of racing films, Gran Turismo is merely drafting near the back.