Thom Ernst

Psycho Therapy is a charming return to form for the adult comedy—dialogue-driven, character-first, and delightfully absurd. A smart and silly piece of narrative chaos that earns every word of its unwieldy title.

A hybrid action/war/revenge film with enough octane to blast Michael Bay out of competition.

EPiC: Elvis Presley in Concert doesn’t ask you to worship Elvis so much as to remember what it felt like when the man took control of a room and decided—joyfully, deliberately—to make it move with him.

It’s rare for a feature debut to be as fully realized and executed as Firecrackers. It’s as if someone forgot to tell director/writer Mozaffari that making your first feature film is a tough go, filled with doubts, indecision and second guessing; her choices never seem obvious yet always feel right.

Despite lacking the visual scope and timeline of Polley's earlier works like Take This Waltz, Away From Her, and Stories We Tell, Women Talking is her most accomplished film to date: An intimate portrayal of a group of people driven to the brink of rebellion lest they concede to defeat.

Cregger’s film is a standout — unsettling, odd, and wickedly fun. Weapons might just be the horror movie for people who don’t do horror.

Kneecap is one of the most likeable films this year. Turn up the volume and enjoy.

A good script can sometimes be held hostage by the performances. Harpoon relies heavily on the strength of its three leads to carry not only the film's suspense but also the characters’ internal hypocrisy. The leads here do not let the script down.

The Reason I Jump is a remarkable documentary not because of what it includes but because of what it avoids.

Kaurismäki does not shrink from present-day buzz-kills like updates on Russia’s attacks against Ukraine, or the afflictions of poverty on Helsinki’s working class. But here again, is the contrast; even amid conflict, things charming and funny can occur.

It’s enough to know that Gerwig directs romance in a similar way that Tarantino directs violence. The romance—like Tarantino’s violence—comes in large sweeping gestures turning in on itself before pulling out again. It’s all so authentically cinematic that some of it seem surreal.

The writing in The Coffee Table is almost acrobatic in its delivery, manipulating feelings and ideas by rendering deep guttural emotions in the all too familiar ways. The terror in Casas’ film is linked to the unknown. But differing from other horror films, the unknown in Casas’ film is neither ethereal nor otherworldly.

Tick, Tick…Boom! packs a great deal of joy into a story that pushes a more modern and darker take on the make-it-or-break-it mantra of classic ‘40s musicals. The songs are engaging and staged with a feel-good choreography that consists less of formalized dance (for the most part) than it does gleeful bursts of movement.

I thoroughly enjoyed Kid Detective. It’s not the kind of picture that wins awards, which is too bad because nestled within a traditional tale of a detective in need of redemption, is a story surprisingly unique and humane.

Is Glass Onion fun? Yes, it is. It's a lot of fun. More fun and more comedic than its predecessor. The twists resonate stronger than the original and are not as easy to see coming. Plus, the reveals (of which there are a few) resonate with the satisfaction of a game well played.

Sinners, the new film directed by Ryan Coogler and starring Michael B. Jordan, needs no more than a one-word review; Stunning. Magical also works. So does unforgettable.

Agnes is a genre breaker that veers into unanticipated areas of drama, some of it absurd, some street-wise, and yet inescapably entertaining.

Beyond the humor and pathos, Will & Harper is a touching and heartfelt exploration of friendship.

Furiosa: A Mad Max Saga is not likely to make the same rounds at the Academy Awards as its predecessor. But it remains a winning formula. And when someone tells you that it has the best action sequences put to film—believe them.

The Menu is the most entertaining ensemble film since Knives Out, and the most engaging horror-satire since Get Out. But no matter what comparisons and assumptions are made, The Menu will not be the movie you expect.

Simply said, there is magic in this film, rising out of simple observations, allowing the camera to linger through moments of play, pausing for glimpses of charity while holding fast to the possibility of tragedy. A film that nurtures a balance of trust with betrayal.

As you might expect from King, The Monkey is dark, ruthless, and violent. What you might not expect is just how funny it is. Like, it's genuinely hilarious.

Freaks is a mind-bending thriller that is subversive enough to be rebellious, and in this era of CGI superhero cinema, the revolution is welcomed.

Sure, The Eternal Memory is tough and occasionally relentless, but it is also affirming in ways unexpected. Significant and intense indeed, but the excursion is far from weary.

The Father is a compelling, illusionary story about aging's disorienting symptoms. It is a masterpiece of structure, narrative, editing, and performance.

Johnson delivers a wicked satire on faith and fanaticism, a lively mockery of far-right politics cloaked in the sacred robes of a classic whodunnit. It’s feel-good entertainment with just enough spiritual cleansing to seal the deal.

Aside from the exquisitely executed acts of outrageous (comic-book) mayhem, KILL is fun. KILL unleashes a vicious ballet of hand-to-hand combat, all within the narrow confines of a passenger train en route to New Delhi.

Set, script, performances, and direction - it all works.