The end result is a film that truly feels like it has something to say and goes about saying it in the strangest way possible.

Smart, stylish, and suspenseful, The Woman in Cabin 10 works in large part because of Knightley’s performance.

The sci-fi thriller certainly has some bumps along the road, but a dedicated performance from Jessica Rothe helps amplify it into an intriguing ride that cleverly showcases the actor's impressive range.

It's a maddening and heart-pounding portrait of bureaucracy amid war and the mental torture of being helpless in the face of terror.

Father Mother Sister Brother does have little pockets of Jarmusch's genius scattered throughout, but not enough to make up for how unfulfilling the entire experience is.

There are more misses than connections in the third act, and for its title, it's never really vicious enough despite the blood and gore to come. Still, it'll keep you on your toes as it's cutting off someone else's.

It features terrific performances from Roberts and Garfield, but even they are not enough to save the film from being too muddled and morally ambiguous for its own good.

Altogether, Black Phone 2 is a mixed bag that still has some clear winning attributes.

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.

If you've already tested yourself with other beautiful, albeit lengthy, works of art, don't miss the opportunity of witnessing Hadzihalilovic's imperfect masterpiece. Allow yourself to be mesmerized by its beauty and consumed by the paranoia that surrounds it, much like Jeanne in the realm of the Snow Queen.

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

Bone Lake isn't heavy or particularly meditative with its themes of sexual repression, mismatched couplings, and people's absolute failure to efficiently communicate with each other, but it gives us just enough to pad out an amusing framework and make us wonder where it's all headed.

Some moments could benefit from lessened narration, a longer cut in an individual scene, or the maintenance of a less dreamlike tone, but it's a fine film that provides one of the most unique cinematic experiences in biopic history.

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.

It takes a tale as old as time, adorns it with the accoutrements of soft body horror, and ultimately tells the audience members to keep their chins up; that they have the power to break through these societally-inflicted ideas about self-worth.

V/H/S/Halloween is dark and demented, and is the funniest movie of this franchise. But if the V/H/S series just turned it down a notch and tried some different storytelling formats, the next one could be even better.

Killer coyotes aren't all that scary, and the comedy of the supporting characters feels forced and overly written. Kudos to the crew for coming up with a premise and refusing to send it off the rails into fantastical absurdism. Still, just because you keep the plot grounded doesn't mean that there is enough to keep up the tension.

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.

There's something to be missed from the first due to the predictability of his path in this iteration, but there are enough surprises and novelties (usually violent) to provoke delight and get adrenaline pumping.

The latest action-comedy from Black proves that he's still capable of delivering an equal parts funny and action-heavy comedy with all the trademarks that make us love him as a filmmaker.

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.

For Rocky fans, this is a brilliant chronicle of the history of a perfect show, with plenty of the humor, heart, and zest for life you'd expect. In a broader sense, it is a fascinating examination of cultural lightning in a bottle, how to exploit it, and which pitfalls to avoid.

It's an engrossing thriller that reels you in with its unconventionality and offers up something different in a largely uniform genre.

Adulthood is a film with three-dimensional people who are good for some laughs due to their reactions, but the surrounding plot is high-stakes and filled with suspense. Every single time you think you know where it's going, a new twisting avenue carries us somewhere else.

Night of the Reaper succeeds in Christensen's goal of bringing something new to the horror genre, and keeps the audience engaged, mystified, and on the edge of their seats.

At the end of the day, Rehmeier's take on an outlaw romance wrapped in a road movie is entirely too enjoyable to give too much hate to. From the country music needle drops to the oozing on-screen chemistry, anyone who loves a good crime movie that doesn't take itself too seriously will need to get their butts into the theater for this one.

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.

This is a movie made perfectly for those viewers who are somewhere between childhood and adulthood, and it understands them. It throws just enough of life's nastiness at them without making it too overwhelming or hopeless, and it has a real comprehension of how teens often feel: misunderstood and unsupported by those around them, but not in that stereotypical "get outta my room, Mom!" way.

It's got enough charm and entertainment value to keep fans of Brando entertained and satisfied from start to finish. In short, Billy Zane makes Waltzing With Brando an offer that's hard to refuse.Waltzing with Brando is in theaters now.

It's content with being simply silly when it could have been so much more. Still, Doin' It will make you laugh out loud throughout its runtime, and Lilly Singh shows that she has what it takes to succeed on the big screen.

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.

The Lost Bus may not reach the heights of some of Greengrass' finest work, but that's a high bar to reach. Thanks to some immersive setpieces, grounded performances, and stellar direction, the latest film from Apple TV+ rises above its shortcomings, resulting in a gripping docudrama that is worthy of your time.

Drifting between heartfelt dramedy and broad comedy, Driver’s Ed doesn’t always blend the two with enough finesse.

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.

If a movie is going to give us a man reuniting with his dad and them coming to love each other, then it needs to give them the freedom to really hash it out and explore the consequences of their estrangement. Looking Through Water only skims the surface.

Varley's talents as a director are evident for the first half at least, but after that, The Astronaut becomes a head-scratcher.

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.

McAvoy creates a story of ambition, prejudice, and performance that gives Scotland’s underdog spirit its due. It isn’t a flawless directorial debut and stumbles in places, but it plays like an anthem for outsiders with a dream.

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.

Poetic License is one of the smartest, most heartfelt films of the year. It never tries too hard, is sentimental without being gooey, and is brilliantly anchored by an ensemble that makes the movie truly sparkle. If this is what Apatow is delivering with her first film, we can’t wait to see what she does next.

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.

A short runtime kills any character development and tension.

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.

Whimsical in concept but hollow in execution, Eternal Return drifts aimlessly despite Naomi Scott's glow.

Rainn Wilson gives one of his best performances in this compelling action comedy.

Sure, there is a subplot or two that feels a bit uncooked, but it’s easy to forgive because the movie is brisk and wickedly fun. Like its affable hero, Normal is impossible to ignore and proof that when Odenkirk takes on an action role, things are anything but normal.

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.

John Candy: I Like Me is a beautiful love letter to the comedian.

Riz Ahmed's fiery turn and a bold South Asian lens make this Hamlet compelling, even if uneven.

The Choral offers a unique look at WWI, while struggling to maintain balance between its compelling lead and somewhat lackluster storytelling with its other subplots.

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

Demon Slayer: Infinity Castle boasts stellar action, animation, and some wonderful performances, but it would be better as episodes than as a standalone film.

That being said, if you are part of that target demographic, Spinal Tap II: The End Continues has a lot to enjoy. That's especially true when the film shows off a few surprisingly heartwarming moments, which were definitely not as prevalent in the original story.

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

Hulu's Whitney Wolfe biopic never tries to break free from the predictable confines of the genre.

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.

Etzler carefully walks the line, taking a dark subject and ratcheting up both the tension and the humor until the two are inextricably linked, making for an entertaining and unpredictably exciting debut.

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.

With a career-best Tatum at the center and an ensemble that fills in every corner with warmth and wit, Roofman is one of this year's most pleasant surprises.

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.

The Smashing Machine boasts strong performance, but the film hits fairly generic story beats.

What Last Rites gets most correct is its family dynamics, hearkening back to the first film's initial moments and providing a strong thread throughout the series. Farmiga, Wilson, and new and returning characters all pull this off brilliantly.

Strassner and Larsen are an absolute delight to watch, and this is the kind of movie that indie cinema is all about.

The Long Walk exceeds even optimistic expectations to easily become one of the best Stephen King adaptations.

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.

It’s a totally pointless pursuit that has no interest in interrogating why A Serbian Film came into existence, only how. An 80-minute behind-the-scenes promotional featurette for a film that, even after an entire documentary devoted to defending its existence, still feels completely meaningless.

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

The Thursday Murder Club is a delightfully charming movie that hits all the highs of the cozy murder mystery genre without any of the negatives.

Trust does a great job of showing what Turner is capable of. The problem is everything around her. Pardon the pun, but it takes an interesting premise and doesn't trust itself to craft a compelling story with interesting characters around it.

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.

Ne Zha II is a bold, action-packed, interesting celebration of Chinese legend, wrapped around the story of a growing boy who wants to determine his future. The new English dub translates these characters well to the screen, and its visuals are beautiful companions to the large-scale story.

Madelyn Cline and KJ Apa engage in a summer romance that neither makes your swoon nor sob.

The fifth installment of a beloved modern horror franchise proves that it's losing steam.

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

It's a relentless ghost train of a movie that blinds you with its color, deafens you with its chaos, and pushes you to hysterics with its overabundance of silly, splatter-filled action.

If you're a moviegoer who desires smart, original horror, skip Witchboard. You're better off just watching Sinners or Weapons again.

It is just as chaotic, caught between peril and hope, as our reality. The ugliness and the potential of humanity are rarely this captivating.

By the film's end, both the film and its titular protagonist become honed, complex, and much-improved. It's an inconsistent sword-and-sandal epic, but one that lands some major notes as the sequences and combat get bigger, bolder, and feature better grounded performances.

So while the familiarity is felt throughout, it's hard not to cheer, chuckle, and cringe at all the chaotic mayhem that unfolds in Nobody 2. It's not trying to be anything other than an ultra-violent late summer action flick, and if you go in expecting to watch some gnarly kills, brutal fist-fights, and gun-fu, you'd have to think pretty hard to feel disappointed.

Fixed has the stylish hand-drawn animation that Genndy Tartakovsky is so well-known for, but the juvenile humor feels beneath a filmmaker of his stature.

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.

An eerie, well-acted stroll along the well-trodden path of pregnancy horror.

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.

A scathing documentary about the price of fame and honest artistry.

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

Everyone you'd hoped to see is here, the chemistry between Lohan and Curtis is still spot on, and the new additions to the ensemble don't detract from the narrative that won us over two decades ago.

Eddie Murphy's The Pickup is a dull and lifeless action-comedy that provides neither laughs nor thrills.