There are many aspects to her legacy as a writer, but what makes Judy Blume Forever such a valuable documentary is that it reveals the person underneath her work that made it all come alive.

Apollo 10½ can at times feel like the greatest hits of Linklater and what made him who he is, but that’s a welcome change, and a reminder of his strengths as a filmmaker.

The film has all the makings of something fresh and elevated, but it ultimately establishes itself as a solid yet still somewhat stereotypical teen romance with sparks of more interesting, daring fare sprinkled throughout.

Kore-eda crafts a careful story, full of hidden twists and turns that reveal themselves with time and patience.

The Plague, at times, can be too grueling a watch, especially in its graphic depiction of self-harm. It's also one of the most vital movies in recent memory in capturing what it's like to be 12 or 13 years old.

The 1950 film Harvey, starring the legendary Jimmy Stewart, is a film ahead of its time. It's a film that speaks to mental illness. A film that places the value of one's quirks above societal expectations. It's a charming, funny film with an innocence that is seldom seen in theaters today.

How to Have Sex is a fearless, uncomfortable, and mesmerizing watch from start to finish.

Unfortunately, where the film falters is with its other star, the aforementioned Chris Hemsworth.

It's a winner, with a surprisingly breezy pace for such a long action spectacle. Interested audiences should catch it on the largest screen they can.

It is Williams’ portrayal of Keating and his earnest passion that effectively conveys the film’s message as the excitable and unique teacher leaves the audience longing to be inspired.

With a great lead performance by Kravitz, a plot that—like the KIMI device itself—is persistently upgrading and shifting, and a shockingly optimistic story despite the fear of the technological world, KIMI is a shining example that Soderbergh is one of the best directors working today.

Twinless is a masterfully crafted and thought-provoking dramedy that’s sure to leave you with much to grapple with. Beyond being thematically rich and carefully assembled, it’s also just a really good time.

Berger’s latest is a blast of brilliance, with a supremely compelling story driven by some astonishing performances.

In a land where truth is habitually stripped away in favor of political and religious control, Bread & Roses serves as a reminder of the bravery of those who sacrificed all for the love of their country and community.

By the end of Not Alone Anymore, it's clear that Matlin is far from a star who burned too bright once, and her light has not dimmed at all. If anything, she's been working steadily and surely and despite the years of solitude, thanks to her creating the path forward, she is not alone anymore and won't ever be again.

Instead of a flowing narrative, it’s a series of scenes, the worst and best parts of their 13-year relationship, and doesn’t come together well enough to feel like a complete story. This combined with the lack of Coppola’s vibrant, feminine, and electric aesthetic makes Priscilla a major disappointment from a true cinematic visionary who's capable of better.

What the cast and crew of Run Lola Run achieves is pure innovation in film.

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.

Much like the setting it depicts, Sunfish (& Other Stories on Green Lake) is a quiet little gem with much more to it for people willing to take the time to look beneath the surface.

Though there are shocking moments, it mostly plays things safe, refusing to fully embrace the intensity it occasionally flirts with.

The film memorializes André and keeps him from being forgotten — something he mentions multiple times throughout the film. Yet it also helps André come to terms with everything.

Tafdrup defangs his feature in the final act, choosing to forego the road less traveled, completely breaking up the tension of an otherwise uncomfortable, tension-filled story.

Still: A Michael J. Fox Movie can be a bit standard as far as biographical documentaries go, but when the subject is someone as much to watch as Fox is, it’s hard to care too much about the form when the content is so captivating.

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.

This deeply personal project for Junior is wildly unpredictable, not unlike Senior's approach to storytelling. Not only does this make it more captivating, but realistic. Sr. is aesthetically polished, but Smith and Junior are, like all of us, messy in their unique way.

It might not answer every lingering question or fully offload his tensions, but it does capture something more elusive and wholesome.

When talking about Top Gun: Maverick, it’s hard not to sound hyperbolic, but this is the rare case where it absolutely deserves all the massive praise. Top Gun: Maverick improves upon the original in every conceivable way (well, the soundtrack doesn’t have Berlin, so that’s one strike against it), and does so in a way that might make this one of the greatest sequels ever made. It’s also hard not to say this might have some of the most exciting action scenes to ever hit the skies, and gives Cruise one of his best performances by returning to the role that made him a star. Top Gun: Maverick is a marvel of a film, one that will truly take your breath away.

With BlackBerry, Johnson manages to craft a thrilling and moving story about friendship, pride, and the brutality of the free market.

Oddity is another horror gem from writer-director Damian McCarthy with an enthralling performance by Carolyn Bracken.

Its masterful blend of action and emotion through tightly nuanced writing and performances elevates the film to stand out as one of the most endearing films of 2024.

Even as the film pulls out all the stops, the character work remains subtle in a way that gets under your skin. The magnificent performances of Reyes and Ireland align perfectly, peeling back the humanity their two characters had only tenuously been clinging to.

The result is one of the best films of 2025 so far, successfully capturing the grim, brutal, and unpredictable nature of warfare that only a handful of feature films truly have.

Ultimately, Dìdi's problem is that it is charming but aimless. Izaac Wang is perfectly cast as Chris, and he has amazing chemistry with this cast, but there just isn't enough to go off of. It feels like we're looking into a vignette of someone's life rather than taking in a fully realized story.

Hello Dankness uses a specific language that might alienate part of the public. But any attempt to make the movie more accessible would diminish the mesmerizing effect of watching a feature-length meme.

Good Luck to You, Leo Grande demonstrates that sex can be exciting and humorous and pragmatic and transactional all wrapped up into one. Most importantly, it can also be a connection that doesn't require love to leave both people wholly transformed by the experience.

Predator: Killer of Killers encapsulates much of what made the original such a classic, with surprises around every corner and characters that are easy to root for.

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’s open enough to be perceived as a character study, a horror story, or something different altogether. But what is indisputable is the movie’s excellent use of wide shots and close-ups, the gorgeous production design and cinematography, and Woodvine’s quiet but compelling performance.

This version of Merrily We Roll Along doesn’t fix every flaw in the material, but it doesn’t need to. What it does instead is honor how difficult, tender, and painfully human this story has always been, giving it the kind of intimacy that a lot of pro-shots never quite reach. For a musical that was once called a massive flop, it’s got a pretty satisfying second life — and one that’s very easy to roll along with.

Nirvanna the Band the Show the Movie is not only the funniest movie I’ve seen at SXSW, it’s one of the funniest I’ve seen in years.

All held together by a transcendent performance from Imogen Poots, The Chronology of Water isn’t the strongest directorial debut, but it does hold glimpses of what Stewart is capable of.

In the end, the movie is about a delusional guy who doesn't realize he's been indoctrinated, but it is also an emotional exploration of loyalty, camaraderie, and stubbornness.

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

Distancing itself from clichés in the name of honesty and earnestness, the charming British dramedy showcases the whole gamut of human relationships but takes tender care to highlight the good. The performances are delightfully honest, its cinematography is visually stunning and immersive, and the tale it tells is one of forgiveness and letting go – one that highlights the power of being gentle to one another.

Even with the dazzling camera work and notable cameos, the film's true marquee attraction is Bogart delivering another classic performance in the face of tragic personal circumstances.

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.

While Carax’s cinema may not be to everyone’s taste, this primer on both his philosophy and his aesthetic is as effective as anything he’s ever directed. Brilliant in its concision, even the most jarring of elements never overstay their welcome, making this perhaps the purest and most honest chapter in his entire filmography.

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.

Ibelin is an effective and creative documentary about the power of online friendships.

Dead Mail is a rock-solid crime thriller horror.

It is an experience built around surprise revelations and plunging into the unknown. What is found there is not nearly as impactful as the actual journey itself, making for a mixed bag of horror and humor that rises above its lesser parts enough to hold together.

Accepting the World’s Fair Challenge isn’t a way to experience a The Ring-like challenge that will probably lead to horrors beyond one’s wildest imagination, it’s a way to be part of something, damn the consequences. Schoenbrun’s impressive debut latches onto that idea of online communities, coming-of-age, and finding one’s own people through a genuinely uncomfortable and unique horror story unlike any other.

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.

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

It’s artistic, ravenous, and boundless in a way that honors the spirits of the New French Extremity movement. MadS is the kind of horror experience that feels like you’re new to the genre again — and oh what a glorious feeling that is.

If viewers manage to sync with this specific wavelength, they will definitely enjoy Sen’s methodical noir deconstruction. Still, it might be asking too much from the audience, especially where there’s so little payoff to be found in this corner of the Australian outback.

Coralie Fargeat’s The Substance is a film whose style might get in the way of the substance, but it still ensures the filmmaker will have a legion of new horror fans waiting for what she does next.

The Starling Girl is steeped with empathy, not just for Jem, but for every young woman, religious or not, who struggles to know herself and gives in to the desire to be seen, no matter the voyeur — just to feel alive, and like they matter.

Nosferatu shows Robert Eggers at the height of his powers, building an atmosphere of choking menace anchored by magnificent turns from Lily-Rose Depp and Bill Skarsgard.

We are left with a shattering sequence of bittersweet joy crossed with sadness that serves as a testament to the power cinema has to linger forever in our memories.

Till will go down as one of the most powerful and important films to hit the screen in 2022, Danielle Deadwyler is unforgettable, and the film has a voice that needs to be heard more. A single movie is not going to stop hate, but that isn't the intent, this is a film that challenges its audience to open their eyes even more to racial injustice.

KPop Demon Hunters is a charming action outing with fun world-building, catchy songs, and strong performances.

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.

The real beauty of Nope, however, is watching Peele explore this playground, continuing to prove that he’s a maestro at crafting stories that are extremely weird, yet engrossing and impressive to watch.

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.

Bye Bye Tiberias is a unique documentary that handles its painful subject with grace and care.

Cohen carries the reverence she feels for her subjects into Every Body, which insightfully raises awareness about intersex individuals even though some of its creative choices prove distracting.

When it all comes together it proves to be yet another poetic and patient cinematic reflection on the families we build for ourselves from one of the best observers of humanity to ever do it.

The Graduates is a compelling drama with incredible performances across the board and confident direction.

As an example of artistic propaganda, a film that drives home a message while maintaining creative credibility, it remains second to none.

Given that the two leads in this project don't seem to have a clear driving force to their actions, this feminist thriller does more to show the challenges that women face than to create fully developed characters. Although the film does end with a bang, these missteps leading up to the resolution make the final scene bittersweet.

Ambitious yet focused, it is a film that draws from both history and fantasy that it then shapes via joyous music. The result is an epic that makes the most of its magic, eschewing the regrettably typical constraints of the form to become something that is both deeply reflective and beautifully realized.

With a phenomenal performance from Frank Dillane and a thoughtful, open approach to those who lose their way in life, Urchin is a worthy contribution to the cinematic portfolio of British realism.

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.

Better Man is in a category of successful biopic dramatizations all unto itself.

For those drawn to the bent, who crave some "Cheepnis" in a cinematic landscape of overproduced and overpriced madness, they just might fall in love with Dead Lover for all of its foul, fecund, and farcical facets.

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.

When watching The Feeling That The Time For Doing Something Has Passed, the brilliant comedy from writer-director Joanna Arnow in which she also stars, both comedy and tragedy are expertly wielded in her hands.

Much like the character he plays, Mikkelsen does a lot with very little, giving life to a barren world that is often defined by death and suffering. It is in his piercing stare that we are taken into the entire interior world of tumult he is trying to contain.

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.

Maestro is a refreshing subversion of the classic biopic.

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.

Twilight of the Warriors: Walled In is still a more than competent, entertaining, action-packed ride, even if it's not the most original in terms of its plot.

Through We Feed People, Howard shows how impressive and powerful Andrés’ operation is, often covering large areas that need disaster relief. At certain points in We Feed People, even the Red Cross and Salvation Army are asking for help from Andrés in these truly awful times.

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

It is a deft mix of comedy, romance, and suspense typical of Hitchcock’s formative British years.

Baking up a storm of humor and heart, the pro-shot Broadway production with Bareilles leading the charge is the perfect treat this holiday season.

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.

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.

Not only is this documentary a microcosm of the country at large, reflecting real life in the way that charisma and the ability to fire up the masses can make all the difference when it comes to politics, but it also gives us a sense of what the future can look like.

Ha-chan, Shake Your Booty! will likely gain criticism for its simplicity and earnestness, but I would argue those are the very things that make it so special and effective. It’s also an enormous triumph on a craft level, with stunning direction buoyed by equally gorgeous production design and cinematography. Throw in moving performances and beautiful choreography, and there’s no doubt you’ll be moved to get up and shake your booty, too.

Shinkai uses magnificent landscapes as the background of a story about love, trauma, and finding out who you are. There's much to love about Suzume, and more than enough for us to be excited about whatever the filmmaker comes up with next.

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.

An exciting and terrifying horror movie, a fresh and nuanced entry into the zombie catalog, a mesmerizing philosophical tale, all packed into a coming-of-age structure, 28 Years Later is one of the best zombie horror movies we’ve been given in years.

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.

After pushing up against the confines of a conventional musical biopic, it does end up mostly operating within them, hitting all the notes you’d expect it to hit, but that doesn’t mean it doesn’t ring mostly true when it counts.

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.

The actors do well working in Manuel’s specific directing style — one that’s characterized by unhurried dialogue — it’s just that the style doesn’t always resonate, tamping some of its power instead of enhancing it. Filipiñana is a feast for the eyes, but you’ll likely still leave hungry due to the punishingly slow pacing.