Ross Bonaime

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.