Ross Bonaime

The Drama is a film that will stick in your mind long after you’ve left the theater.

They Will Kill You is an undeniably fun and berserk action film that relies on the style to make up for the lack of discernible substance. For the most part, They Will Kill You pulls this off, and it’s easy to get caught up in just how much this cranks itself to 11.

Mike & Nick & Nick & Alice is a ridiculous adventure that is constantly surprising, unexpectedly touching, and truly hilarious.

Pizza Movie is a charming throwback to the stoner comedies that inspired it, an ambitious college movie that knows how to take a simple idea and turn it into something broad, wild, and expansive. While the joke might start to get a bit thin near the end, Pizza Movie is a clever bit of fun, and we definitely need more broad comedies like this in the world.

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.

Sender wants to put us in the perspective of an addict, but instead, it always leaves the audience feeling like it’s missing something, not quite in step with what the film is trying to express. Goldman has a lot on his mind, but Sender sometimes feels like when you have too many ideas, and you try to say them all at once, but it comes out garbled and confusing.

While Kill Me doesn’t stick its landing, this is an impressive debut from Peter Warren, and it shows how well he can mix extremely dark subject matter with an engaging mystery that’s also quite funny.

What starts as a more violent Mr. and Mrs. Smith takes an unexpectedly brutal turn, becoming borderline unamusing. Taccone pushes himself to try and break from his usual comic mold, but with Over You Dead Body, he ends up pushing too far.

Brian is an absolute blast and a hysterical coming-of-age story, centered on an impressive lead performance by Ben Wang, and an absolutely perfect handling of character and tone by Ropp and Scollins. Brian deserves to be amongst the great high school coming-of-age comedies that paved the way before it.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.

When it focuses specifically on the scares, Hokum is an effectively disconcerting film that relies on time-honored basics to really get under the viewer’s skin.

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.

Ready or Not seemed to close the book on Grace's story, but Here I Come effectively shows that there are still potentially chapters to explore in this tale. Did we need a sequel to Ready or Not? Probably not. But hell yeah, it's great that we have one.

Einbinder, Reynolds, Gluck, and Theroux are appealing as a team, but Strouse doesn’t give them any weight on their own, which leaves this story feeling fairly one-dimensional. Seekers of Infinite Love will, unfortunately, leave you searching for more.

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.

Lord and Miller have created a new sci-fi classic, an incredible adaptation of Weir’s novel, and a film that deserves to be a part of 2027 Oscar consideration already. With Project Hail Mary, Lord and Miller have crafted a film that’s truly out of this world in every possible way.

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.

Scream used to poke fun at the silliness of horror movies and laugh at the genre's clichés, but now, it’s indistinguishable from the films it once gleefully lampooned, in what is easily the worst installment so far.

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.

There are fractured elements that, with a little polish, could’ve been something much more, but this is just a generic, unremarkable horror film.

How to Make a Killing is a fun, albeit flawed thriller drama with a mildly dark sense of humor.

Even if The Musical isn’t always a hit, it’s worth it when the film does find its high notes.

Stanton has done truly incredible, groundbreaking things in animation, and he’s almost certainly got a great live-action film in him, but In the Blink of an Eye makes one wonder if Stanton should go a bit smaller and work his way up to such grandiose concepts like this.

The Best Summer takes the audience on a summer road trip with some of the biggest musicians of the '90s, and it's a blast to be along for the ride. Davis' collection of videotapes makes this feel like we're coming across a collection of private moments, rather than a concert documentary.

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.

Even though zi isn’t quite the powerhouse of independent cinema that films like Columbus and After Yang were, it does feel like the work that Kogonada needed to do in order to right his sails and figure out where to go next.

This Strangers trilogy was an ambitious concept that quickly became a disastrous failure that completely misunderstood this series to begin with. Even after all this build-up, this final chapter fizzles out to an underwhelming conclusion of a journey that wasn’t worth taking to begin with.

The Gallerist is a disappointment, especially considering that Yan’s last movie as director was the vastly underrated DC film, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) from 2020, a hyper-stylized, playful, and unconventional take on the superhero genre. It would’ve been wonderful to see that version of Yan here, creating an unhinged look at the art world that was experimental, spirited, and daring in the way that film was.

The Shitheads is an enjoyable, dark take on the buddy-road comedy that could've maybe used a bit more finessing, but hopefully this isn't the last time we see Blair try this type of comedy.

I Want Your Sex proves that every generation needs its own Araki film.

With undertone, Tuason has created one of the few horror films that’s even more horrifying to hear than it is to see.

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.

In just under two hours, Apatow and Berkeley truly do their best to cover every facet of Bamford, and it is an impressive document of her greatness.

The Invite might seem like a simple idea, but Wilde, as well as Jones, McCormack, and her excellent cast, make this into a compelling, delightful, and moving comedy that's more intricate than it might seem.

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.

A little more full-throated absurdity and humor would've been a great step for the film to take. Ultimately, The Moment is a delightful spotlight for Charli XCX as an actor, and the concept itself finds some playful ways to expand on the lore of of her massively successful album. "brat" is dead. Love live "brat."

If The History of Concrete proves anything, it’s that Wilson can make a movie about anything and make it absolutely brilliant.

Carousel definitely has some rough edges on the fringes of this romance story. But when Lambert gives us the quieter moments of Noah and Rebecca, or puts them together in a scene, it’s absolute magic.

With bad direction, terrible acting, and a world that has no weight behind it (especially since most of it was clearly made in a computer), this isn’t the way to bring Silent Hill 2 to the big screen. This powerful survival horror story has been turned into an ugly, laughable adaptation that proves that maybe we should’ve never gone back to Silent Hill.

All You Need Is Kill might not be as impactful as the Takeuchi / Obata manga, or Tom Cruise’s live-action update, but it does make some intriguing choices that will absolutely be worthwhile for fans of these other versions to check out.

A Private Life is worth exploring simply for the performance by Foster, which keeps this story moving the best she can, despite the screenplay’s constant starts and stops. If anything, the real mystery of A Private Life is why we don’t get to see Foster on our screens more these days.

A stunning movie that continues to solidify the franchise's legacy as one of the best zombie stories to ever hit theaters.

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.

Kill Bill: The Whole Bloody Affair might not be Tarantino’s masterpiece, but it’s a brilliant example of a filmmaker with a deep-seated love of movies fully embracing his inspirations and passions in grand fashion.

It'll get your heart pumping from the very beginning, rarely giving you time to breathe, and boasts a lead performance from an actor who's truly in command of his greatness.

Kotevska isn’t just telling a story of a farmer in a foreign land; she’s constructing a story that we can all relate to in our current world, in one of the finest documentaries you’ll see all year.

Come See Me in the Good Light is a shattering, yet lovely documentary that’s easily one of the best of the year.

Maslany can effectively react to shadows and reflections, and Perkins can navigate this cabin to maximize its horror potential, but without the screenplay to back them up, this just becomes a curious experiment without much focus.

Miroirs No. 3 is enthralling from beginning to end, a smart, often heartbreaking story that thrives in its simplicity.

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.

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.

Train Dreams is without a doubt one of the most extraordinary films of this year, the type that will stick with you, deep in your mind and heart, long after the credits roll.

After all these years, Left-Handed Girl is a terrific return to directing for Shih-Ching Tsou, who crafts a wonderful, often moving, and splendidly told story of three characters coming into their own.

Little Amélie or the Character of Rain is, without a doubt, one of the best and most touching animated films to come out this year, a remarkable example of what this style of storytelling can do.

As those familiar with Chomet's work would expect, A Magnificent Life is an exquisitely animated film to watch, even if the narrative is a bit rote. But it also makes one think that maybe the original concept for this as a documentary of Pagnol’s life could’ve been more effective and illuminating of what made him such a great artist.

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.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

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.

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.

The Secret Agent is a remarkable work from Mendonça Filho; a beautifully composed film that features some of the best directing, editing, and writing of the year, as well as an enthralling performance by Moura that deserves its accolades.

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.

A House of Dynamite begins explosively, but unfortunately, it ends up fizzling out.

Tron: Ares isn’t likely to turn Tron into the major franchise Disney has clearly wanted it to be for decades, but it is a sign that the company has a smarter understanding of what these movies need to be: exciting to look at, with a great soundtrack, and with a story that’s dumb fun. Tron: Ares not only achieves that, but finds fun ways to fit in the other installments that make you actually want to see more installments in this world, as opposed to having them forced upon us. Tron: Ares isn’t a killer app, but it is a solid upgrade.

It’s entirely possible you won’t see a scarier movie this year than Orwell: 2 + 2 = 5.

While it’s certainly great that Daniel Day-Lewis is back in his element, and Ronan Day-Lewis can craft impressive, imposing imagery, Anemone is just too much empty space, waiting to be filled with something.

Are We Good? isn’t just an enthralling look at pain, loss, and how we handle unexpected grief; it’s also a reminder that life is always full of surprises — both good and bad — and that unexpected journey will certainly have you asking "WTF?" throughout.

The Strangers: Chapter 2 is a true disaster, one of the worst horror films of the year, and it’s a damn shame this is what this franchise has come to.

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.

The vibe of Him is trying to make the audience unnerved, but the story and imagery being presented are too goofy to take this attempt seriously.

Anderson has executed an unbelievably rare feat: a big-budget studio action film that maintains his specific tone and style, with a film that feels essential to our troubled modern times.

Fuze has the bones of a great idea, and one that does seem like a great fit for Mackenzie, given his past work. But Hopkins’ script is too generic an action exercise, from its bland plot to its nothing characters, that it’s hard to find anything to truly care about.

Steve is an adequate film about teachers, students, and the struggles that they both go through, but it’s also hard not to think that a bit more insight into the lives of the students earlier on — particularly from the perspective of Shy — could’ve made this into something even more special.

Glenrothan is cloying at times, but more often, irritating in its presentation of a story we’ve seen so many times before, done poorly.

A Big Bold Beautiful Journey tries to be too big and too bold, when it’s the smaller moments in which this film becomes a beautiful journey.

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.

Edward Berger's latest is all style and no substance, despite giving Colin Farrell a weird role to sink his teeth into.

An intriguing formal experiment from Steven Soderbergh, focused on two solid performances by Sir Ian McKellen and Michaela Coel.

Quite frankly, it never hurts for a film to preach the dangers of Nazis and how they can be anywhere and everywhere, but it is a bit of a shame Nuremberg isn’t finding a more compelling, enticing way to tell this inherently fascinating true story.

The Grand Finale tries to bring some weightiness back into this world, and, for the most part, it works with a fitting conclusion to this universe.

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.

As a ridiculous tale of a celebrity trying to make himself matter, Sacrifice is quite a bit of fun, but any attempt to make a larger point falls flat, just like so many films before it.

No Other Choice is yet another great film from Park, and one of the best dark comedies you'll see this year.

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

Guillermo del Toro's passion project is beautifully crafted, but can be quite exhausting to get through.

Hamnet captures the beautiful aching that makes up life in all its forms, and it makes for one of the most profound and staggering works you’ll see this year.

For a story that should be brimming with intrigue, danger, and the horrors of inventing your own reality, The Wizard of the Kremlin is instead a bloated, tiring recitation of facts that doesn't know how to elevate its dark subject matter.

Three films in, Johnson continues to surprise and amaze with his ability to craft a masterful tale, one that hits everything we love about this series, while still finding new angles to approach in this world.

As a platform for Sweeney to show her broad talents as an actress, Christy is undoubtedly successful, as she finds the heart and sadness within Christy Martin. But Michôd's film doesn't make that life story quite as riveting as it should be, which is what Martin deserves.

A tremendous work from Jafar Panahi that might go down as his masterpiece.

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.

Caught Stealing, on the surface, doesn’t look like what we expect from an Aronofsky film, and yet, once you dive deeper, it seems like the most obvious version of a dramedy crime-thriller that the director could make. The film isn’t afraid to get its hands dirty and go to some truly dark places, yet it always manages to come back to a place where this story becomes entertaining again.

As it stands, The Roses has its charms, but it could’ve used a few more thorns.

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.

Americana is an interesting modern take on the Western, with a standout performance by Halsey.

Berg’s documentary is at its strongest when it focuses on the musical legacy that Buckley was so concerned about that he would leave behind, and less so when it tries to delve deeper into who Buckley was as a person.

Cregger shows with Weapons how perfectly he can balance horror and comedy in equal measure, always walking the line between these two in a film that is both unsettling and deeply funny. Because of this, Cregger has made what might end up becoming the best horror film of 2025.

Boys Go to Jupiter is the type of animated feature we need more of: experimental, unusual, yet fun and familiar.

The Bad Guys 2 is a gorgeous, fun animated film that occasionally spreads itself too thin.

It ends up becoming one of the best DC films in years, and one of the best movies of the summer.

F1 is an absolute blast and one of the most exciting films to come out this summer, a film that will put you on the edge of your seat and make you glad that filmmakers like Kosinski are still making films like this today.

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.

What Song has done is make an excellent version of those types of romance films from yesteryear, yet one where these characters have depth, layers, and are more considered than we might have received in those films.

Ballerina gets off to a shaky start that almost feels like it misunderstands what has made the John Wick series so much fun for so long. Yet once the absurdity of the action takes hold, and Ana de Armas gets to prove herself as a fitting potential heir to this franchise, Ballerina captures the blunt, chaotic action that this series thrives on.

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.

The Final Reckoning is stuffed, convoluted, and ludicrous at times. But it’s also mostly a great send-off to this universe, a deserved celebration for everything this series has accomplished, and one final (again, seemingly) showcase for Cruise as one of the greatest action stars of all time.

Even though the film does at times feel like it's setting up for future projects, it never feels burdened by this, but rather, like we're seeing the natural progression of where these characters' stories should lead. Thunderbolts* is a pleasant surprise in the MCU; it only took a team-up of Marvel’s unlikeliest superheroes to bring it out in them.

As entertaining as Until Dawn is, it’s fairly light in most regards, other than the kills. While the characters in the game had more time to have intricate connections to one another, these five are fairly one-note.

A Goofy Movie remains an understated film in the Disney animated film canon, and Not Just a Goof wonderfully reminds us why this is a film that deserves far more attention than it ever received.

The problem is that these types of films feel lazy and could do so much more with their concepts, and while Screamboat tries to combat that with tame references, winks at the audience, and absurd violence, it can’t keep itself afloat.

The Luckiest Man in America is a strong story when it sticks to the facts, and Hauser is undeniably an excellent choice for this role, but the film really presses its luck by taking such huge liberties with the facts.

Snow White deserved an update of sorts, and this is an admirable new take that certainly is one of the better live-action remakes from Disney. It might not be the fairest Snow White of all, but it's an admirable effort nonetheless.

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.

With a delectable cast and Soderbergh and Koepp knowing exactly how to twist this story with each new scene and reveal, Black Bag is yet another example that Soderbergh can basically make any genre his own, and thrive in it.

The Day the Earth Blew Up: A Looney Tunes Movie shows just how much life there still is in these characters and this world, and that they’re malleable enough to continue providing entertainment to every generation. The Day the Earth Blew Up is the welcome back that the Looney Tunes have long deserved.

The Actor is a film about discovering who you truly are, and it also reveals that Johnson is a captivating, promising filmmaker who hopefully won’t wait another decade to make his next film.

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.

Paddington in Peru might not be at the same level as the first two films, but it’s still absolutely a worthwhile adventure. We’re still getting all the characters and ideas that we love, just packaged in a different way than we’re expecting. If anything, Paddington in Peru proves just how malleable this character is, and how well he can work in either quiet, simple stories or grand adventures.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.

Unfortunately, Bubble & Squeak far more often embraces the ridiculous more than the realistic, and ultimately struggles to combine these two into a whole that works.

Sorry, Baby is a fantastic debut that has announced Victor as one of today's most exciting up-and-coming filmmakers.

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.

Macdonald and Rice-Edwards take us back to the 1970s to explore these two but also show that two of the most important figures in music history were just a pair of flawed individuals trying their best to use their position of power to make the world a better place.

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.

Together is the type of joyfully demented horror film that was made to be seen in a theater with other people on the edge of their seats. Shanks has such a great handling of exactly what his movie needs at any given moment, and Brie and Franco have never been better.

There are a lot of fascinating ideas Green is throwing into Opus, and it's obvious that this is a fully realized concept that he's worked on for years; not only in the script, but in the extra work he's done in fleshing out this world. Still, we don't see enough of that work come across in the finished product, and the ideas here come off as muddled, failing to connect with the audience beyond a superficial level.

Kiss of the Spider Woman is yet another decent adaptation, but even Condon's visual panache and scale can’t quite elevate this story to greatness.

Considering how electric Stone’s work and life are, SLY LIVES! more than makes up for its standard documentary style through Stone’s gripping story, and Questlove’s exploration of the revolutionary music.

Jimpa is a heartfelt tribute that unfortunately doesn't resonate as much as it should.

The combination of Byrne's haunting, brilliant performance, and Mary Bronstein's unrelenting handling of tone here makes If I Had Legs, I'd Kick You one of the first must-watch films of 2025.

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.

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

The Order is a solid crime drama that sometimes hits too close to home, but that's what makes it so terrifying.

Beyond the ‘90s references, Y2K is an underwhelming, but mostly entertaining movie that never quite goes as far as it should with its concept, comedy, or the relationships between its characters.

Ross has found an overwhelmingly perfect way to bring Whitehead’s story to the screen, one that feels like a step forward for how cinematic stories can be told. It’s beautiful, heart-wrenching, and refreshing in equal measure. Now, Nickel Boys is a masterpiece in two different formats.

Perry’s work in Pavements is one of the wildest and unhinged approaches to a music documentary ever made, but the fact that he pulls it all together into something that isn’t a mess is a testament to Perry’s craft.

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.

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.

This incredible cast, especially Washington, Nielsen, and the overlooked Pascal, and this expansion of the compelling political machinations make Gladiator II a worthwhile sequel, even if it can't match its predecessor. Gladiator II will leave you entertained, but leave you with an unfortunate feeling of déjà vu.

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.

It’s an experiment that only works here and there, yet when it works, there’s beauty in those rare moments.

Road Diary: Bruce Springsteen & The E Street Band is a straightforward yet enjoyable trip with one of the best live bands ever to exist. Yet considering the story that this tour has told so far, it's a bit of a shame that Zimny's documentary doesn't explore the entirety of what this road diary had to offer.

The budget might have ballooned to ten times what Terrifier had, and the kills have gotten far more gruesome, yet Terrifier 3 is still the same mixed bag that this franchise has always been.

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.

For Andrews, Bring Them Down is a capable, intriguing debut, but it needs more depth than this revenge tale has to offer.

Ty Roberts’ inspirational sports drama You Gotta Believe relies on age-old playbooks to a fault. It’s a true story and a surefire tear-jerker, but Lane Garrison’s screenplay is reductively hokey at the worst 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.

Despite its occasional flaws, The Brutalist is one of the most remarkable films of the year, and proof that Corbet is a fascinating filmmaker to keep an eye on.

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

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

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.

Blood and Honey 2 still isn’t exactly “good,” and it might be a bit premature to start working on a sprawling Poohniverse, but considering the dregs this series began at, this is a flawed improvement that’s still a bear of little brain.

Godzilla x Kong is a vacuous de-evolution into monster-on-monster action but also arguably the best possible version of that transition. There’s no doubt that this is fairly moronic, but it still manages to be an improvement over what we’ve seen from the last two installments in this cinematic universe.

Frozen Empire attempts to evoke the past with constant callbacks, while trying to make the audience care about a more modern story with characters for a new generation, and ends up failing on both counts.

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.

Imaginary is a mess of a horror film, with poor narrative choices, obvious twists, and clichéd characters.

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.

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.

Spaceman is a rocky journey, but in times like these and thanks to Sandler’s performance, it’s often worth the trip.

Drive-Away Dolls, the solo directorial debut of Ethan Coen, is an occasionally charming road trip comedy that never quite reaches the wit and brilliance of other Coen projects.

Silver's vision doesn't always work, sometimes feeling like a mishmash of ideas and tones that don't always go well together. But when the film focuses on this central relationship, Between the Temples finds a lovely sweet spot that makes it all sing.

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

It's a deliberately-paced drama with some decent performances and a gorgeously dark aesthetic, but lacks the time or effort to give these stories what they need.

The Greatest Night in Pop is a worthy story in its own right, but a bit more of the director's touch could've done justice to this gigantic achievement of pop music history.

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

The American Society of Magical Negroes is a film that needs bite for its high concept to work, and unfortunately, Libii’s film doesn’t have teeth.

The editing in Super/Man is perfectly handled, taking what could’ve been a straightforward documentary and turning a life into a collection of what makes us who we are—both the good and the bad.

The film isn’t without its flaws and weird choices, but the fact that it works at all is a testament to the Zellner brothers and this incredible cast being willing to give their all for such a deranged idea.

Schimberg’s exploration of identity and representation has the best of intentions, but the more audacious aspects of A Different Man often overwhelm the interesting themes at the center of the film.

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.

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.

Love Lies Bleeding is an exhilarating experience that will make you groan, laugh, cringe, and swoon. This is a remarkable second film from Glass, showing her tremendous ability to build tension and create an entirely unpredictable thriller that won’t be easy to forget.

Told from the perspective of a “presence” in a house, Soderbergh explores this type of horror story in a way that only he can, playing with the structure of similar films, screwing with our expectations for this type of film, and once more, testing himself while showing the untapped potential in the genre.

I Saw the TV Glow is bold, unhinged, extremely unusual, and also kind of magnificent—a daring step forward for Schoenbrun as a filmmaker, and a film that will certainly divide audiences not sure what the hell to make of it.

With Aquaman and the Lost Kingdom, we get the best and worst of the DCEU, but also a reminder that there’s still hope for these characters, with a bit more focus, and a reminder of what works and what doesn’t with this world.

Despite its flaws, Bazawule’s strength behind the camera and an incredible cast down the line make The Color Purple a worthy adaptation.

Leave the World Behind is a smart, compelling take on the end of the world, and proves Esmail is a writer-director who deserves larger-scale projects like this after his television successes.

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.

Poor Things is a staggering accomplishment of a movie, a film that feels so uniquely Lanthimos, and yet, with a heart and a shocking amount of joy and enthusiasm that shows the filmmaker pushing his style and boundaries as much as possible.

Renaissance: A Film by Beyoncé, Queen Bey wants us to know that being at one of her concerts is a communal experience.

Good Burger 2 certainly isn’t a masterpiece, but Kenan & Kel still have the special sauce that makes this film work.

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.

Disney has been at the forefront of animation in film for much of its 100 years and their legacy is unparalleled. That’s a lot to put on the shoulders of any animated film, but Wish, with its mundane celebration of this history, is a disappointing commemoration of these accomplishments.

Please Don't Destroy's debut film isn't necessarily a treasure, but there are a few gems to make the future look solid for this trio.

Napoleon is a grand film, both in terms of Scott creating a story with a size we’ve rarely seen from him, and the bold, large choices made by a completely game Phoenix.

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.

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.

Intriguing moments of animation experimentation and a new batch of characters just aren’t going to be enough to keep this series worthwhile. Right now, Trolls is going in one direction, and it needs to shake it up a bit more to make things in sync again.

Freelance, like Cena’s Mason, wants to be something more, but maybe it should’ve settled for something a little more simplistic and straightforward and found the joy in that.

Finestkind has all the right pieces to make an interesting drama, but Helgeland can’t get them together in a way that isn’t over-the-top and downright silly.

In the end, Taylor Swift: The Eras Tour isn’t just a demonstration of this mammoth undertaking, it’s also an undeniable proclamation that Swift is one of the most impressive musicians of the 21st century.

The Wonderful Story of Henry Sugar feels like a project Anderson needed, a way to explore smaller storytelling in a manner that still allows him room to experiment, have fun, and utilize his very specific voice and talents.

As a live-action film, The Peasants would’ve been a grand achievement, but by taking the time to animate these frames and add that extra texture to this story, the Welchmans have made one of the most impressive animated films of the year by far.

As a documentary, Sorry/Not Sorry isn’t groundbreaking in terms of form or information, but it does feel important in the larger conversations that Suh and Montes are exploring, as C.K. isn’t the first nor will he be the last celebrity to have the pain they've caused unveiled to the world.

By capturing Flipside in this way, Wilcha shows the weird, unbelievable nature of life and the surprises that make it such a beautiful mess.

Hamaguchi’s Drive My Car worked so beautifully because of the smaller, quiet moments of life, the drives from one place to the next, and the undiscovered moments that we keep hidden. Evil Does Not Exist turns these moments into an entire feature-length film, and while it might seem slight at times, the approach is wonderful in its own right—a master filmmaker taking his time and embracing the silence.

Perfect Days is another masterwork from Wenders, a recognition of life’s curiosities, the small details that make it all worthwhile, and finding beauty in the overlooked things in life.

It is a work of big emotions and heart in the middle of the worst time of a person’s life that is also one of the best films of the year.

There are great ideas throughout Fingernails and strong filmmaker instincts, but it also feels like a film that should’ve gone just a bit deeper into this world, its love, and its ideas.

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.

Hit Man is also simply one of the most thoroughly enjoyable films of Linklater’s career, an absolute delight to watch unfold and play out. He keeps the twists of the noir narrative fairly straightforward, leaving us to revel and admire in Powell’s comedic chops, the romantic entanglements, and the anticipation for when this relationship might go too far.

Yates makes Pain Hustlers part-rowdy dramedy, part-half-assed takedown, and entirely an underwhelming film that attempts to make apparent and bland points.

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.

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.

Waititi’s latest isn’t bad by any stretch, and isn’t close to his worst (again, Love and Thunder, watch your ass), but as a sports film and a comedy, it is fairly average.

The Holdovers is a wonderful revelation from an excellent director who proves he’s still able to take us by surprise.

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.

By the end of Hate to Love: Nickelback, it’ll be hard to hate these four guys, and in some ways, that’s sort of the point—putting a human face on a band that is often seen as little more than a meme.

Dicks: The Musical is a decidedly big swing and a genuinely weird take on the musical that has its moments, but also feels a bit stretched too thin given its concept.

In a career full of continuous surprises, The Boy and Heron’s biggest surprise might be just how magical and unique his work still feels after all these years.

Glazer’s latest fits within his distinct style, breaking down a genre and working with the skeleton that’s left over in order to get at the heart of what makes these stories so jarring.

It is a delightfully bizarre film that is always unexpected while being perfectly balanced by the two lead performances of Edebiri and Sennott.

Blue Beetle brings a breath of fresh air to DC with its focus on smaller stakes and family dynamics, standing out just enough from other superhero films.

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.

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.

In Earth Mama, Savanah Leaf gives us a towering reminder of the women who gave their all for us, their determination and power, the difficulties of staying afloat when you feel like you’re drowning, and how we can’t truly know what other people are struggling with, no matter how hard we try.

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.

Haunted Mansion isn’t reinventing the wheel with this haunted house story, for sure, but it’s the gratification of watching this cast have fun with each other, and the pleasure that Simien and Dippold have playing in this sandbox that makes this quite often a treat to watch.

Oppenheimer is a towering achievement not just for Nolan, but for everyone involved. It is the kind of film that makes you appreciative of every aspect of filmmaking, blowing you away with how it all comes together in such a fitting fashion.

Gerwig has created a film that takes Barbie, praises its contribution as an idea to our world, but also criticizes its faults, while also making a film that celebrates being a woman and all the difficulties and beauty that includes.

Dead Reckoning Part One is plenty of fun, and one of the best action films of the summer by far, but coming five years after Fallout, it’s hard for this seventh film to not feel like a bit of a disappointment.

After the dregs of the first five Transformers films, Bumblebee felt like the shot in the arm that this series needed to make it what it should’ve been all this time. Coming off that, Rise of the Beasts feels like both a step forward and a step back.

Cameos and fan service are fine to have, but the story has to be there to back them up, and it’s not quite there with The Flash.

Across the Spider-Verse isn't just easily one of the best films of 2023 and one of the best animated films in years, it's also in the running for best superhero film ever, and arguably cements Miles Morales as the best Spider-Man we've seen on the screen so far.

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.

But even though Fast X is spread too thin, and we’re starting to see the consequences of this ever-expanding family, it’s still a blast to watch.

If Day has shown anything with Fool’s Paradise and the long road to get it made, it’s that he has passion and a vision, and a dedication to making a project that works for him. Fool’s Paradise might not work as well as it should, but fingers crossed that Day keeps at it.

Guardians of the Galaxy Vol. 3 isn’t just the ideal sendoff for this group, it’s the best MCU film in years, and a reminder of how much fun and moving the Marvel Cinematic Universe can actually be after film-after-film of recent disappointments. The Guardians of the Galaxy were the best corner of the MCU, and Gunn has created the perfect goodbye to this gang of misfits.

With Peter Pan & Wendy, Lowery shows there’s nothing wrong with sticking close to the text, as long as you bring some new identity to the story and give the audience a reason to care about seeing this story once more. With both Pete’s Dragon and Peter Pan & Wendy, Lowery has shown the correct way to tell a time-honored story once more.

Beau Is Afraid is bold, enthralling, and unlike anything you've ever seen before. Whether that's a good or bad thing, well, Aster leaves how we enter this shrieking void up to the viewer.

Paint is an odd attempt to make a comedy while also doing the least amount to make that comedy actually funny.

The Super Mario Bros. Movie captures the spirit of the games, the deep history, and the incredible possibilities that these games have presented for decades, all in one of the most fun animated films in years, with a team behind it that you can feel loves these characters and this world.

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.

Led by two solid performances by Pugh and Freeman, A Good Person shows growth from Braff as both a writer and director, as he attempts to push himself into a more mature story that we’re used to from him.

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.

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.

Beyond the clichés and the added elements to try and boost the drama, Tetris at its core works because the true story is inherently an interesting one, and when the film sticks to these details, it's at its best. Like a difficult game of Tetris, this film might fumble some of its pieces, but in the end, it's ultimately a satisfying experience.

There is potential within the Shazam! films that have never quite been met. Especially with this latest installment, this often feels like DC’s attempt at having a Spider-Man-esque character in their roster, and if you squint, you can almost see that possibility.

John Wick: Chapter 4 is a goofy, ridiculous, three-hours of fun that manages to not overstay its welcome. Stahelski continues to find ways to keep this series from getting stale, and Chapter 4 pushes the ambition to the brink.

It finds just the right combination of nostalgia and fresh blood, telling a story that manages to feel familiar in its winks at the past, but breaking with tradition in ways that are exciting and new for this series. Scream VI might be a sequel to a requel, but this franchise still finds new ways to feel original in its approach to this world.

It’s that heart that makes Champions better than expected, a shaggy underdog story that might be a bit overlong and a bit awkward in places, but with charming characters that help smooth out these rough edges. In doing so, Bobby Farrelly sticks to his comedic sensibilities, creating an endearing comedy that doesn’t need to break from the formula of similar films that have come before.