Ross Bonaime

Friendship truly has all the makings of a future comedy classic.

Bong has some cache to make whatever he wants, and he uses this freedom to build a wild and intriguing world that is both humorous and politically charged.

Pomerantz’s screenplay is deceptively complex, yet it’s pulled off effortlessly. Pomerantz is presenting ideas of self-discovery, lifelong friendships, confusion and uncertainty in who a person is, and handling all this in a remarkably entertaining and endearing story.

Director Nora Fingscheidt adapts Amy Liptrop’s memoir of the same name like a master conductor, melding the past and present expertly to create a staggering look at addiction through a magnificent performance by Ronan.

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.

But despite how charming and fun Elio is, it still falls prey to some of Pixar’s occasional problems. Yes, this is a story of intergalactic adventures and a wide universe of possibilities, but it still can get a bit convoluted at 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.

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.

It's a delightfully smart and ambitious story that is equally powerful for children and adults alike.

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

Metal Lords ends just when it feels like it’s finding its footing, with its characters taking too much time to address their flaws, leaving the music and the bonds that have been formed via the music, on the back burner for too long.

The McManus brothers have crafted something that manages to be both sprawling and intimate, complex yet without becoming convoluted. Redux Redux is a strong indie sci-fi film that will make you excited to see what the McManus brothers have up their sleeves for next time.

From its narrative that blends so many ideas exquisitely, to the gratifying characters and narrative arcs, to the absolutely stunning animation style, Arco is quite possibly the best animated film of the year.

I Love Boosters is full of major swings and plenty of individual concepts that could take up an entire film, yet Riley balances everything this movie is trying to do quite well.

Sometimes I Think About Dying is a dark comedy of restraint and quiet, but that silence holds an incredible amount of power and emotion. Ridley gives what might be her best performance, and Lambert knows exactly how to balance the delicate mood of the film.

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.

Heretic is a clever twist on the religious horror genre, bolstered by three strong performances, particularly Grant’s gregarious yet haunting Mr. Reed.

Predator: Badlands might not be the shock to the system that Prey was, but it is continued proof that putting Predator in Trachtenberg's was one of the smartest moves this franchise has ever made. The writer and director continues to find brilliant, fascinating ways to explore and expand the Predator movies to an exhilarating level, making this series better than it ever has been.

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.

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.

The Survivor is too frequently going through the motions of tried-and-true biopic stories that we’ve seen countless times before, or making choices that seem daring, but ultimately hold back the power of Harry’s story.

Torres' humor might be too niche for some, but Problemista shows that it can be used to tell a compelling and heartfelt story for the masses.

Theater Camp isn’t without its weaknesses, but the hilarious cast—like their characters—are game for anything, and the jokes are flying fast and mostly landing.

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

Some might criticize Tancred’s approach to this mystery, which meanders, goes on tangents, and follows several red herrings over the course of its two hours. Yet it’s precisely that free-flowing style that makes Last Stop Larrimah so unique.

As Ibsen’s play has shown, even a century after its writing, this is still a story with life in it, and DaCosta’s take modernizes it in deft ways. However, the questionable way DaCosta's film goes about it doesn’t do the story justice, making this a party that fizzles out long before the last guest has left.

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

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