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.

It is about as standard a Western as you can imagine, one that hits all the narrative beats and clichés expected of the genre, but the technical quality of it is undeniable, bolstered by gorgeous cinematography, strong performances, and a really impressive turn from its child star, Patrick Scott McDermott.

It's a cluttered mess of a movie that should have scaled back, stuck to the basics, and delivered what we were all hoping for: over-the-top ratty carnage.

Although Off the Record is well-intentioned, it misses more beats than not.

If you haven't seen many demon possession movies, or on the opposite spectrum, if you can't get enough of them, Rosario is a decent 90-minute watch. It's not awful, it's not going to insult you, but it's a retread of better movies with every predictable plot point you can imagine.

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.

With everybody understanding the assignment, Bears on a Ship is truly one of those movies you can relax and have fun with.

Jack Quaid and Jeffrey Dean Morgan give heartbreaking and sometimes hilarious performances as two men who need to prove to themselves and everyone around them that they can save the day.

Despite a top-tier cast and bone-rattling action to keep you engaged, the Netflix flick buckles under a cluttered story with chaotic execution. It’s watchable, even entertaining in bursts — but beneath all the bruises and broken bones, there’s not much else to hold onto.

Striking Rescue follows familiar beats, but there are enough twists and solid performances to land it well, while the action sequences are delivered with Jaa's characteristic uncompromising intensity.

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.

Fréwaka may not achieve everything it sets out to, but it’s still a moving horror story packed with thought and intention — and a much-needed reminder of the lyrical beauty of the Irish language.

Mob Cops has an interesting true story at its heart, and a talented central cast to convey it, but there are self-imposed limitations baked into its core. There may have been a great movie here, but it simply doesn't achieve that potential.

If Cheech & Chong's Last Movie is actually their last movie (a plausible hypothesis given that their last live-action feature together was back in 1984), it's a great curtain call. It's a breezy, engaging, but still informative look at the duo and their falling out, and it ends on a note that's surely welcome for fans of their comedic oeuvre.

Sneaks is borderline unwatchable.

This documentary combines stunning visuals, an important message, and, of course, a precious protagonist to tell a powerful story of friendship, healing, and love.

Dead Mail is a rock-solid crime thriller horror.

It could innovate more thoroughly and ground its antagonistic plot with stronger internal logic, but it's a solid action outing that's well worth any audience's time.

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.

There's definite potential in Andy Edwards. He needs to up the camp and spend a little longer at the drawing board, streamlining his vision and considering what he wants to do with his next project. Whatever it ends up being, I look forward to seeing it.

Sinners is an electric film sparkling with energy and passion.

Bryce Dallas Howard imbues Pets with so much heart that it transcends from a pleasant fluff piece to an honest and thought-provoking look at life and loss... while still being pretty damn cute.

The Teacher is not what it sets out to be. It is too melodramatic, too bloated, and too messy to work.

Gunslingers can't quite escape feeling like forgettable VOD junk. It does at least try to rise above its standing, and, at times, it comes close to pulling it off.

While G20 doesn’t always rise to meet Davis at her level, it’s a performance that elevates even the weakest beats, giving audiences a satisfying, if uneven, ride.

The film is at its best when Heller is executing novel kills or blackmailing his bosses, and we're given just enough of those adrenaline-pumping scenes to make it all work together well. The Amateur strikes that delicate balance often (though not universally), but it works well enough when it counts, for an outing worth seeing.

Group Therapy recognizes that mental health journeys are as complex as the eclectic group at its center, and in managing to communicate this with the same kind of easy storytelling as the best comedy movies, it becomes one of the most important discussions of mental health that viewers can watch today.

I do believe that there was a scenario where A Minecraft Movie could have been the next Lego Movie. That's clearly what Warner Bros. likely wanted out of this, but instead, we're left with a mostly disposable live-action family movie that will certainly please the young ones in the audience and will be tolerated by the parents.

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.

With a limited budget and a lot of dedication to the craft, the project is able to build on its references to thrillers from the '70s and '80s while finding its own footing.

The Australian film has no pretense of being realistic, which is why it is so easy to buy into, allowing us to enjoy this unabashed romp into toxic family dynamics, seizing the glory days and (twisted) sexual repression.

With two movies under their belt, Statham and Ayer have proved to be the perfect match for delivering entertaining and simple action flicks to the big screen.

Even though the romantic elements aren't as rewarding as the familial ties at the heart of The Life List, the project still has its merits. From Carson's captivating depiction of Alex to Britton's warm and motherly presence, there are parts of this film that will be enjoyable for a viewer looking for something sweet and emotional to tune into for an hour and a half.

There's an excellent film somewhere in The Woman in the Yard, but it would take another draft to uncover it from beneath that jet-black burial shroud. Suffice it to say, it's a horror outing that works rather well until it falls apart at the end.

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.

Summer of 69 is one of the best movies that American High has put out and is the first teen movie in a while that successfully harkens back to the high school-set movies of yesteryear.

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.

The movie shines the brightest, harshest light on Kaufman, and still ends up seeing nothing more than a silhouette. What was it all about? We may never know, but Thank You Very Much is about as close as we may get.

It Ends takes viewers for a terrifying ride in unexpected ways.

There’s a fascinating movie to be made about this period and these characters, but Ott's telling is simply not up to the task.

It’s a clever reinvention of commonly distraught themes, teaching an old dog new tricks with a dreadfully cosmic twist.

It's a strong and highly watchable thriller that shouldn't be missed.

There is a simplistic charm to the movie that captures the strange in-between times of the early 2000s.

Bloody Axe Wound may not be a satirical masterpiece, a profound coming-of-age work or a belly-aching comedy, but its surface is shiny enough to guarantee a bloody good time while watching it -- just don't bite the blade any deeper.

Locked is a really slick, tightly-spun crime thriller that seems to take a good deal of inspiration from Joel Schumacher's Phone Booth.

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.

It's a real shame that The Alto Knights doesn't explore its real-life story as thoroughly as it should have, as there is a genuinely interesting story to tell here. The film details historical events that didn't just dramatically impact the shadowy world of organized crime, it changed the public perception of the Mafia forever. The Alto Knights perhaps would have been better served if it had been a documentary narrated by one Robert De Niro instead of a meandering feature film that stars two.

Not only will you get to revisit old favorites and feelings, but you’ll be taken to places you’ve never been before. Thus is the power of music and the magnificent, inimitable Hans Zimmer.

Ash feels too familiar, which is disappointing coming from such an idiosyncratic filmmaker like Flying Lotus. This material feels like it's too derivative to be effective, but the video game-like atmosphere, bonkers direction, and reliable cast make it far more watchable.

It's a joyous, heartfelt, hilarious, and emotional dramedy that won't leave your mind.

After proving herself as a director on TV shows like Stranger Things and Severance, Briesewitz has delivered a promising directorial debut, with fascinating characters and takes us on a journey to a world that we don't often see in American films.

We Bury The Dead is a sprawling but sparse zombie remix that's too far removed from the genre it's exploiting.

It's evident Cave tried her best to steer the ship, but the story feels aimless, and moments after things get interesting, Holland cuts to credits, leaving you equally puzzled and burned out.

Performances are the spectacle, and both actors do a tremendous job translating the worst feeling any parent can experience. It all depends on your patience for slow-burn horrors, and if there's enough nightmare fuel to stay along for the ride.

LifeHack is a captivating, exhilarating, and full-speed heist thriller that marks one hell of a feature debut.

The Devil And The Daylong Brothers is brimming with potential. It's not afraid to take some risks, which is more than you can say for over half of the movies that get released every year. Its only setback is that it puts its style ahead of character development.

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.

Borderline is a prime example of how a really great cast can elevate rather frail material.

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.

For all the faults O'Dessa has, it's clearly a film made with an abundance of passion and creativity. It's a gender-swapped, punk rock, post-apocalyptic reinvention of the myth of Orpheus and Eurydice. It's also a movie that largely doesn't work and trips over its own ambition.

Leonberg shows so much promise, ultimately delivering a horror movie that not only has the scares but also a massive heart. However, it does also help that the movie is centered around a cute dog.

Dan Farah's directorial debut is the kind of movie that is bound to stir up conversation, especially if it ends up being bought up by a streaming service (this feels tailor-made for Netflix). Unfortunately, it's executed in the most bland way possible.

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 Parenting, which boasts an impressive cast including Brian Cox, Parker Posey, and Edie Falco, takes itself just seriously enough to maintain the impact of both the horror and the comedy, and while it doesn't end up being the most original or breathtaking thing you ever saw, it makes for a fun ride with a lot of character and plenty of heart.

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.

It's anchored by a wonderful central performance from Susan Chardy, who finds layers of nuance in Shula as her anger over the situation bubbles to the surface. It's an excellent film, and a strong display of talent across the board.

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.

Landon has proven himself to be one of the best studio filmmakers in delivering enjoyable genre-forward movies, and Drop may just be his best movie yet.

Ashley carries the movie, and her talent should be utilized in more romantic comedies. Don't take it too seriously, and you'll have a good time.

Overall, The Electric State doesn’t hold a candle to any of its esteemed cast’s other films, but impressive visual effects and great music help it from being a totally pointless foray into the wasteland.

The strange thing about The Accountant 2 is it's not the same gritty action movie that the original was. O'Connor still delivers some top-notch fight scenes, but this sequel, at its very core, is a hang-out movie, complete with a scene of Affleck awkwardly line-dancing at a bar. Yes, you read that right, and yes, it's as great as it sounds.

Death of a Unicorn is a delight; a clever, sharp-horned, and violent horror-comedy that demands to be seen on the big screen with an audience.

Similar to the original, Another Simple Favor manages to defy your expectations. It's a sequel that never feels hellbent on just repeating the same plot beats as the first. While it does get too cocky in delivering dozens of plot twists, the sexiness and soapiness are still there.

It’s a gory, bonkers action-comedy premise anchored by a set of strong performances and a surprisingly poignant meet-cute, making for a wildly memorable action outing.

If you have been eagerly looking for a mash-up of Parasite and Fresh that fundamentally misunderstands why both films resonated with audiences, by catering to the deeply ingrained xenophobia of the upper class, then Delicious is the film for you.

Morris' strength lies in the interviews he conducts and the narrative he's capable of creating through them. The director is not at all interested in making a straightforward adaptation of O'Neill and Piepenbring's book, instead chatting with many actors involved in the Manson case, from Bugliosi to Manson family member Bobby Beausoleil.

In the Lost Lands could have been an exciting story about witches and werewolves in the post-apocalyptic world, but instead, it's more lifeless than the green-screen backgrounds that consume its runtime.

The Rule of Jenny Pen has a lot going for it. Lithgow and Rush pull off strong performances, the escalation of tension is well-developed regarding the scenes taken as a whole, and the central conceit of the doll is used to strong effect.

Seven Veils is an intense psychodrama, enriched by Seyfried's magnetism and the director's ability to piece together the content of Strauss' opera with the protagonist's repressed memories.

Even though F Marry Kill doesn't quite live up to its potential, it doesn't mean it needs to be buried six-feet-under -- it is more suited to a steamy, giggling one-night-stand.

It may not reinvent the proverbial wheel on the proverbial boat, but Plankton: The Movie is one of the better things to come from the SpongeBob SquarePants IP in recent years that fans should have an easy time falling heads over squeaky boots for.

That story is beyond tragic, but although Queen of the Ring does have some sad moments, it's also a story of unwavering passion. As the final credits roll, you're going to feel a renewed strength thanks to such a powerful icon.

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.

Bloat really doesn’t seem like a movie that knows what it wants to be.

Where the script falls short, Norton and Dunne pick up the slack and carry these characters through to the finish line.

Uppercut, by director Torsten Ruether, benefits from Ving Rhames' strong screen presence, but a lack of believability in both character development and plotting keep the character study from working.

While the documentary of the same name might be able to capture the more human elements better than any adaptation could, the technical marvel of this feature film's underwater sequences is well worth diving into.

Lifeline truly does stand on its own merits for the majority of its runtime, right until the ending that may leave a bittersweet note in your mouth.

Overall, Younus' directorial effort is engaging to an extent, displaying the lengths to which a vulnerable person longing to be understood can go to achieve a sense of belonging.

It's an oddly cobbled-together hodgepodge of ideas and little real inspiration that could have graduated to fun schlock with a little more love.

Set to be released alongside an accompanying documentary and book, this film feels more like a way to peddle Christianity under the guise of good faith, made worse by confusing creative choices and a painful lack of self-awareness.

Those seeking more from their horror experience will discover a hauntingly cerebral and remarkably mature, confident debut.

It's a film that largely rests on an edifice of clichés, contrivances, and ungrounded choices, needing greater development to actually land.

It's a frustratingly one-note experience that boasts technique and potential, ultimately undone by a narrative blandness painted by numbers. Separately, everything works — the plan just never comes together.

Old Guy looks the part of a classic, character-based action-thriller, but, ultimately, the script is far too flimsy for the film to coalesce into something interesting. It's too bad, as Waltz could almost certainly crush in one of these, given the right material.

The very act of filmmaking itself helps Porcelain War battle against those that wish to erase this delicate yet resilient culture.

Once again, Daisy Ridley proves she has the charm and star power to make even the shakiest scripts a thoroughly enjoyable watch. Like Protégé, Cleaner has a lot of compelling storylines, action sequences, and intention, but the execution leaves something to be desired.

Sugar Babies is an intimate look at poverty and the changing of the American dream, but it fails to look deep enough to make the impact it intends to.