Ross Bonaime

Grand Theft Hamlet shows how incredible it is to see how a new medium of storytelling can shift what we know of a beloved work and put it into an entirely new context after centuries.

The Threesome is not without its flaws, it could absolutely use some fleshing out in some key parts, and its ending feels like a bit of a cop-out, considering everything that comes before it — yet it delivers when targeting the big emotional core that makes this story special.

Stiller & Meara: Nothing Is Lost isn’t just a loving tribute to the great comedy duo of Stiller & Meara; it’s also a beautiful look at how much our closest ones impact us both during their lives and after they're gone.

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.

Linklater reminds us that he's still able to make two people simply sitting around and talking fascinating. After all these years, the pair of Hawke and Linklater remains a winning combination.

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

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.

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

Eternity is a cute rom-com with a great cast, but it could've used more exploration of its afterlife.

The story might be thin, and some new characters might not get the attention they deserve, yet The Super Mario Galaxy Movie remains a charming, often hilarious, and playful testament to the greatest video game franchise of all time.

Rental Family’s intent is to create a satisfying, touching, and ultimately emotional film with sweet performances and quiet drama, and that’s exactly what it delivers.

Relay is a tense, edge-of-your-seat ride that reminds you that they do still make them like they used to, it’s just, unfortunately, not nearly as common anymore.

Thelma could’ve been a one-note joke, but Margolin’s script makes being elderly a strength and not a weakness.

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.

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.

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

Kung Fu Panda 4 is a film all about deciding to not do the easy thing of remaining stagnant and comfortable, but rather, trying something new and hopefully finding the greatness in the new opportunity. Kung Fu Panda 4 similarly does this, attempting a new approach to this world and mostly finding success, while also potentially setting up the future of where this series could go.

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.

This third Avatar film might not have the groundbreaking impact of the first film, or the vast improvement that The Way of Water had over what came before it, but Fire and Ash is still an exceptional moviegoing experience that proves there’s still plenty of gas in this tank.

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.

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.

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.

The Sun Never Sets is a charming take on the love triangle and a strong return to movies for Swanberg. The mixture of Fanning, Johnson, and Smith works well, and this romance is handled quite nicely without becoming frustrating with all its relationship back-and-forths.

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.

Buddy is a blood-soaked nightmare full of dark humor and surprisingly touching moments. Like its title character, Buddy isn’t just fluff, there’s something deeper inside.

Gail Daughtry and the Celebrity Sex Pass is as unhinged as the name implies, and it’s exactly what we’d want from Wain and Marino. These two have proven that their brand of comedy hasn’t gotten old over the decades, and thank goodness they’re back making the most insane movie comedies out there.