Dead Mail is a rock-solid crime thriller horror.

While Part Two is impressive on multiple fronts, it doesn't make it to the finish line without stumbling first.

The result is a film that leaves a distinct impression, molding deeply personal elements and sweepingly profound ideas into something spectacular that sneaks up on you.

Much like the scene from which it gets its name, where a photo from an old album is flipped to reveal those four words, turning things over and holding them up to the light is the necessary starting point to finding the truth.

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.

It's an action movie with plot beats that might make certain audience members raise their eyebrows and scoff, but it will have Statham devotees smiling, laughing, and cheering in their seats.

It's fairly common for creature features to be populated by characters we feel little to nothing for: flat, cardboard people whose only real purpose is to fill the runtime until they get eaten. Thrash does a solid job of avoiding this standard pitfall.

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.

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.

Swapped takes the tropes of body-swap comedies of the past and filters them through a decidedly contemporary lens.

Far more thoughtful and provocative than your average action-adventure, The Old Woman With the Knife is a thrilling update to the genre, leaving us with a hole in our hearts as the credits roll.

Jérémy Clapin’s Meanwhile on Earth is a mesmerizing work of science fiction with a magnificent performance by Megan Northman.

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.

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

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.

With Bugonia, Lanthimos elevates an already fantastic concept, making an essential film about the world we live in and just how insane and hopeless it can feel at times.

Artfully combining song, romance, and unique settings, Oliver Hermanus offers a heartbreaking and emotional film that reminds us not only of the enduring nature of love but also the power of sound and song.

James Mangold's A Complete Unknown explores the music of Bob Dylan with fantastic care and a great performance by Timothée Chalamet.

Diary of a Wimpy Kid Christmas: Cabin Fever is still a greatly enjoyable entry in the animated adaptation landscape that mostly captures the essence of the novels. Most importantly, it doesn’t forget that kids’ insecurities can make them reckless and even unlikable, and that’s okay because, eventually, they’ll learn from their mistakes.

A first-hand retelling of how easily racism can become deadly, The Perfect Neighbor is one of the most compelling documents of how inherently dangerous it is for Black people to exist in America today.

The Wedding Banquet is a classic rom-com with modern touches that rarely ring false or feel heavyhanded. The entire ensemble is top-notch, allowing beloved actors like Gladstone and Yang to do something slightly different from their usual fare.

Die, My Love is further proof that no one is doing it like Lynne Ramsay, whose technique and style continue to evolve, as she draws out a career-best performance from Jennifer Lawrence in a must-see thriller spectacle that turns a single woman’s experience into a brutally honest psychological epic.

Bold, effective, and brilliant in equal measure, Moll’s film is a fine policier in the grandest of traditions, joining a long line of noir-inflected French police dramas unafraid of being more than vehicles for action and retribution.

The Final Reckoning is stuffed, convoluted, and ludicrous at times. But it’s also mostly a great send-off to this universe, a deserved celebration for everything this series has accomplished, and one final (again, seemingly) showcase for Cruise as one of the greatest action stars of all time.

Bring Her Back captures the darkness and fear of losing someone, all while making one of the year’s best horror films. It’s that mixture, like with Talk to Me, that makes Danny and Michael Philippou two of the most exciting filmmakers in the genre.

It's a delightfully smart and ambitious story that is equally powerful for children and adults alike.

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.

Wild Diamond operates in both the very new wave of movies incorporating the ubiquitous presence of TikTok and the decades-old subgenre of class commentary.

On the one hand, Seeds provides a unique glimpse into one family’s joys and struggles, while on the other it delves delicately yet effectively into larger questions of policy, politics, the scars of the past, and the challenges of the present.

It gradually starts to shift into something more comprehensively striking and somber the longer you sit with it.

The easy winner out of Armand is Renate Reinsve. . . The runner-up is Halfdan Ullmann Tøndel. While his methods for bringing this story to life are a bit overly perplexing and too head-scratching, there is a clear talent for filmmaking on display here that makes his career one to watch with great and serious interest.

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

It'll get your heart pumping from the very beginning, rarely giving you time to breathe, and boasts a lead performance from an actor who's truly in command of his greatness.

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 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.

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

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.

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.

Elton John: Never Too Late feels like the definitive authorized film biography, and plugs a very important hole in telling his story in honest yet compelling ways.

All Shall Be Well is a simple story overflowing with carefully crafted details that raises interesting and little-explored questions about gay rights, how we honor the dead, and how easily selfishness can seep in and poison us out of doing what we know is right.

I Love Boosters is full of major swings and plenty of individual concepts that could take up an entire film, yet Riley balances everything this movie is trying to do quite well.

Part caper, part spy movie, and part family drama, The Phoenician Scheme feels both like a return to form for Anderson while also feeling like an evolution for the auteur as his style changes bit by bit.

In Your Dreams deserves to be held up with the best of what other animation studios have done, and as one of the most visually stunning, funniest, and beautifully touching films of the year

The way Leigh uses these characters to inform us of Pansy’s story is impeccably handled, a sign of a master storyteller that still has plenty to offer.

The Contestant is riveting, but it stops short of the type of analysis that would take it to the next level.

Paddington in Peru might not be at the same level as the first two films, but it’s still absolutely a worthwhile adventure. We’re still getting all the characters and ideas that we love, just packaged in a different way than we’re expecting. If anything, Paddington in Peru proves just how malleable this character is, and how well he can work in either quiet, simple stories or grand adventures.

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

Apart from the impeccable cast, what’s most impressive about Companion is its balance of so many differing moving parts. It’s a genuinely funny comedy, a suspenseful thriller, and has some pretty gnarly gore scenes to boot.

A Part of You is touching and effective without ever veering into emotionally manipulative or exploitative territory, which is not an easy feat when you’re dealing with this subject matter, especially in this genre

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.

Migration embraces a rather touching and family-oriented narrative to weave an energetic tale of humor and sincerity.

It is grimly funny at times, though no less terrifying because of it. Everything compliments itself as we observe the beautiful forest being made into a hunting ground where there is nowhere you are safe for long.

Horror is beautiful. Horror is dark. Go searching for it and the possibilities of what to watch are endless. In Search of Darkness: 1990–1994 captures it all.

While the film's reliance on established crime stories dips a bit too much into the realm of cliché, the overall result is a thrilling ride that's fun to watch, from its quietest character moments to its loudest chase sequences.

With energetic voice performances from the main cast, a humorous tone that doesn't overstay its welcome, and dynamic action that seamlessly goes from one fight to the next, Merry Little Batman is a lovely exploration of the mythology behind The Dark Knight, showing the cutest side of the relationship he has with his son.

Mountains is the kind of movie that reminds us why we love to sit in the dark and peek at other people’s lives. It’s a three-way character study that teaches us about life, parenthood, marriage, and expectations without ever feeling preachy, boring, or flimsy.

With Made in England: The Films of Powell and Pressburger, Hinton shows the legacy that films can have and how time can benefit films that don’t receive the recognition they deserve.

Thanks to Itō’s tenacity and focus, Black Box Diaries boldly tells her provocative and haunting story, resulting in a richly drawn portrait of one woman’s fight for justice that’s sure to inspire change in Japan and beyond.

Your Monster is an engaging showcase of Barrera's considerable talents, as well as proof that Dewey can nail a charismatic rom-com lead role under any circumstances.

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

While most movies have a particular section reserved for fun and games, Karaçelik's tale is engaging in its entirety, with captivating performances from its cast that will make parting ways with Keane, Suzie, and Kollmick a difficult thing to do.

With stunning performances, perfect needle drops, and thoughtful, loving direction, The Last Showgirl is a stylish, emotional, and visually striking work, and a worthy exploration of its impossible protagonist.

With undertone, Tuason has created one of the few horror films that’s even more horrifying to hear than it is to see.

From its narrative that blends so many ideas exquisitely, to the gratifying characters and narrative arcs, to the absolutely stunning animation style, Arco is quite possibly the best animated film of the year.

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.

Little Amélie or the Character of Rain is, without a doubt, one of the best and most touching animated films to come out this year, a remarkable example of what this style of storytelling can do.

Without going too far into detail, as the sudden swerve it makes is too delightful to dare give away, it takes a plunge into its own distinctly offbeat, frequently absurd, and ultimately melancholic vision.

The Devil's Bath is as bleak and hopeless as it gets, but if you give it a chance, it will change you.

Brian is an absolute blast and a hysterical coming-of-age story, centered on an impressive lead performance by Ben Wang, and an absolutely perfect handling of character and tone by Ropp and Scollins. Brian deserves to be amongst the great high school coming-of-age comedies that paved the way before it.

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.

All of Wright's movies only get better and better on every rewatch, given the immense attention to detail, and revisits of The Running Man will undoubtedly garner more appreciation for a movie that's already one of the most crowd-pleasing pictures of the year.

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.

The timeless style, the gorgeous animation, and the impeccable music make Wallace & Gromit's second feature film a gleeful experience from start to finish. It doesn't reinvent the wheel or do something particularly bold and unique like The Curse of the Were-Rabbit, but it also isn't really trying to. This is a straightforward family-friendly adventure that is simply effective and effectively simple.

At its core, Fly Me To The Moon is a thoroughly enjoyable, memorably novel rom-com that regularly surprises in a genre that often doesn’t, and we're all better for it.

There is much that could easily lose some people when they behold elements of its grand design, but for those willing to get on its wavelength, you’re in for a treat as beautiful to look at as it is unexpectedly haunting.

Cameron taking the most thrilling aspects of what worked in Alien and punching them up into an action film fits the xenomorphs (and their queen) much better.

It's a colorful and delightful movie that delivers both thrills and heart. A fantastic follow-up to the original, Zootopia 2 swoops in right at the perfect time for the holidays as a perfect family movie to enjoy.

It's a film that subtly reminds the audience to slow down, be present, and enjoy what one has, because it can be gone in an instant, while also encouraging hope. It's a beautiful cinematic journey and one not to be missed.

In an era where film discourse on the internet is consistently restrained to binary concepts like "it's just good" or "it's just bad," Chasing Chasing Amy is an impressive reminder that discussions on the art of filmmaking can be much more nuanced.

This is a complete vision from a newly minted feature director, and it’s a work very much welcome as it joins the many that have tilled similar acreages.

The Bride! embodies an unconventional and rebellious nature that makes it wholly unique. Whether it's aware of its flaws or not, it's not ashamed to lean completely in. In many respects, The Bride! can come off as being just a little too much. Too much romance, too much theatricality, too much feminism — but sometimes, too much of a good thing is still a good thing.

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.

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.

Saturday Night is a loving celebration of SNL that captures the spirit of trying to put on a live comedy show every week.

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.

Louis-Dreyfus is subtly excruciating in her grief here, and it’s marvelous to watch her work in a story that allows her to play with such a range of feelings.

Emilie Blichfeldt combines the classic grotesque horror often associated with Grimm fairytales and injects new life into it with her feminist message and new perspective. Coupled with strong performances — with special praise for lead Lea Myren — this horror flick is well worth a watch. Just maybe don't watch it after a meal!

It ends up becoming one of the best DC films in years, and one of the best movies of the summer.

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

Sure, the story isn’t groundbreaking, but it makes up for it in its tribute to why we love cinema, specifically horror, so much. Even though it wasn’t needed, MaXXXine secures Ti West’s trilogy as one of the best in horror history.

It will make you cry, it will make you uncomfortable, but at the end of the film's runtime, it will leave you with a feeling of profound satisfaction that even the most heartfelt movies struggle to replicate.

It may not feel fully original, and some moments could be honed, but it's a solid, visually gorgeous outing from Huston anchored by an excellent central performance from Michael Pitt.

Sinners is an electric film sparkling with energy and passion.

Thanks to a witty script and a charming cast led by Damon and Affleck, The Instigators is a fun heist film with heart that blends the right dose of humor, action, and emotion for a comedy you can watch again and again.

It would have benefitted from a greater inclusion of Pep's good times, allowing a more well-rounded exploration and understanding of the storied athlete, but thanks to a well-scripted narrative and excellent performances, it remains an excellent biographical look into the decline and fall of a featherweight empire.

Perry’s work in Pavements is one of the wildest and unhinged approaches to a music documentary ever made, but the fact that he pulls it all together into something that isn’t a mess is a testament to Perry’s craft.

What the film lacks in these specific story aspects it makes up for with its enchanting style and captivating tale.

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.