Unfortunately, Bubble & Squeak far more often embraces the ridiculous more than the realistic, and ultimately struggles to combine these two into a whole that works.

Holder's wayward romantic indie chases meaning through quiet reflections that navigate hardship somewhat cleanly. While it's a delightful representation of Brooklyn's playground, scenes flow through motions like a wandering observer.

Sorry, Baby is a fantastic debut that has announced Victor as one of today's most exciting up-and-coming filmmakers.

It's hard to find any redeeming qualities in Last Days. Its pacing and multiple storylines, not to mention jumping back and forth in time, only work to make the viewer disoriented when it comes to bonding with a character who already does not feel that sympathetic.

Brides is an original and bold coming-of-age story that features two star-making performances from its young talent.

While parts of it are laudable, unfortunately, Emmi’s film feels underbaked, never truly elevating its story to generate the kind of deeper effect that similar thrillers have managed to elicit.

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.

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.

Walker-Silverman's film shows that all ends lead to new beginnings, and things can grow back stronger than ever. It's an important sentiment executed exquisitely and makes Rebuilding the film we need for our current times.

East of Wall thrives in the details, with Beecroft’s gritty, intimate direction and bold casting making it feel adjacent to a documentary.

It may not feel as polished or suspenseful as Longlegs, but you can tell Perkins is having a whale of a time putting his years of horror filmmaking to the maximum.

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.

With fun production elements, a goofy storyline, discordant yet effective sound design, and enough oddness to keep things captivating, traversing through the world of OBEX makes for quite an entertaining journey.

Though the themes in Atropia are more subtle than one might hope and expect from a war satire, and the film could benefit from more focus, Hailey Gates successfully draws intriguing parallels between war and the entertainment industry that will have you looking at both in a whole new light.

Everybody who worked on Green and Gold brought their A-game and made what could have been your run-of-the-mill drama into a truly sublime movie.

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.

The two leads are so charming, the jokes are genuinely funny, and the kills are delightfully gorey.

It's a silly movie, make no mistake, but it's an endearingly one nonetheless.

Brooks’ film could’ve come off as extremely silly, but instead, by balancing the tone in just the right ways, it all comes together beautifully.

Magic Farm starts out promising, and there’s a lot to like when it comes to its performances and visuals, but the underbaked plot keeps it from being fully satisfying.

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

Folktales' earnest, sensitive approach is its superpower, showcasing universal challenges being processed in a specific and singular way.

It's personal without being indulgent, it's unique without feeling incomprehensible, and it's full of heart and soul without being saccharine.

Freelance gives us a morbid pay-off to the lingering tension that riddles the entire film, while also harmonizing its seemingly separate themes of painstaking freelance work and human brutality.

Together is the type of joyfully demented horror film that was made to be seen in a theater with other people on the edge of their seats. Shanks has such a great handling of exactly what his movie needs at any given moment, and Brie and Franco have never been better.

There are a lot of fascinating ideas Green is throwing into Opus, and it's obvious that this is a fully realized concept that he's worked on for years; not only in the script, but in the extra work he's done in fleshing out this world. Still, we don't see enough of that work come across in the finished product, and the ideas here come off as muddled, failing to connect with the audience beyond a superficial level.

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

What starts as a promising storyline soon dwindles as tired tropes take center stage and no sparks fly between the main pair.

Unable to make his ideal documentary about the Zodiac Killer due to a rights issue, Shackleton breaks down the movie he might have made in painful detail that reveals a shocking lack of self-awareness, systematically dismantling the genre without an ounce of introspection.

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.

Peter Hujar’s Day’s thesis seems to be that it’s these normal days that add up to a life and there’s beauty and importance to be found in living, documenting, and reflecting on them for those willing to be patient. There’s a similar sentiment to be said of the film — it’s a rewarding one for those willing to sit with something slow and experimental.

Kiss of the Spider Woman is yet another decent adaptation, but even Condon's visual panache and scale can’t quite elevate this story to greatness.

It’s not only counterprogramming to the same formulaic true crime series that streaming platforms continue to churn out, but it’s also in direct dialog with these shows and the audience's unrelenting obsession with them.

Unfortunately, Dark Match never quite settles on what kind of horror movie it wants to be, and, too often, its overall tone doesn't play to the strengths of its premise.

Kramer plays with surreal department store catalog visuals and body-swap quirkiness, leaning heavily on interpretive dance to convey meaning. There's nothing like it, but with such extravagant boldness comes risks, and they don’t always pay off.

Chernov offers us a visceral look at what Ukrainian soldiers have been facing for the last decade.

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!

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.

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.

Jimpa is a heartfelt tribute that unfortunately doesn't resonate as much as it should.

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.

The movie hangs on the nuances of Cantor's performance, but it never seems to come together.

It's a nice slice-of-life character-driven film, which is always great to see, but there is very little drama or conflict to keep the viewer invested past the colorful animation.

Midas Man may not go on to become as influential as the individuals it has as its subjects, but it's still a decent enough crowd-pleaser that is safe, entertaining, and just the right amount of twisty and shouty.

Some elements and moments are effective, but they're layered with subplot details, character performances, and related choices that don't work as well as intended, firmly grounding an otherwise promising concept.

While the unique shooting style and the talents of Dynevor and Ifans should have set the film up for success, the underdeveloped characters and underwhelming twists render Inheritance a tedious watch rather than a gripping espionage action flick.

While it's always a pleasure to see Yeoh kick butt and take names among the stars, Section 31 wastes her talents as well as its own premise on a middling heist movie devoid of anything that might actually identify it as a Star Trek movie.

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.

The film does show that Gomes is capable of making an authentic period piece and a stunning documentary, but the attempt of trying to do both at the same time has led to an unusual experiment that will leave one scratching their head.

With beautiful visuals, an interesting plot, and a middle that some might even say makes up for its beginning and ending, Grafted is worth watching and Sasha Rainbow is a horror filmmaker to keep an eye on.

The truth is that by the film's final moments, the audience will likely leave their viewing experience with a headache and a bitter aftertaste from all the melodrama.

Unfortunately, We Kill Them All doesn't know how to escalate its story beyond its initial premise, fumbling to make this concept work once it has been laid out. While the movie seems to that that less is more, the weaknesses of the film prove that isn't the case with this film.

The predictable story would be forgivable if Bad Shabbos' execution of this darkly comedic crime caper had a truly excellent execution.

This wonderfully personal story is filled to the brim with a seemingly endless reservoir of laughs and tears. It's an experience that won't just have you liking Bob Trevino Likes It, it will have you loving it.

A fun, high-octane action movie about a chase against time through a fascinating city.

The emotional core of the story relies strongly on the performances of Cholbi, Falé, and Gueneau, who turn in wonderful performances that don't need loud outbursts or explosive arguments.

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.

Alarum is a genuine disappointment, putting a set of strong performers (who do quite well in action-heavy projects) in a situation that could produce memorable, excellent action scenes. It needs extra shine in the script and a stronger directorial vision to do so, which essentially damns the film to action thriller purgatory.

One of Them Days might not necessarily be a great comedy, but it’s absolutely the type of comedy we should see more of in theaters nowadays. Palmer and SZA are a delight, and Lamont and Singleton’s work elevates what could be just a silly comedy into something more.

Most people are likely clicking on this film for Foxx and Diaz, and they, too, do their best with what they’re given, but the dull, exposition-heavy script never gives them the chance to flex any of their dramatic muscles, and they rarely get to be truly funny either.

Offering a fresh take on a legendary folk hero, William Tell’s solid cast and engaging battle sequences will keep viewers hooked. Easy to overlook its faults with impressive sequences, performances and sharp cinematography, the film is an appreciated one for its throwback feel.

To its credit, there are some decent gore scenes, and the practical makeup is done well, but not enough to distract from some pretty laughable special effects. Compared to the original and even the 2010 version that won the Oscar for Best Makeup, Whannell’s version isn’t breaking any new ground.

There's certainly good here, but it's hard not to wish certain key moments were allowed to thrive.

The idea is good, but in practice The Prosecutor doesn't fully feel like a legal drama, nor does it feel like a martial arts film. It's a decent film with strong direction, but laden with regrettable missed opportunities.

Gudegast's film feels almost artificially programmed in its adherence to criminal caper tropes, unable to steal our hearts with the bromantic charms of cops and robbers with boundary issues.

It sits in your chest like a cough you can’t get rid of, and there’s promise in its bones of what might come next for the Aussie directorial duo.

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.

From Ground Zero is important because it puts the spotlight on an issue far more important than making movies.

Instead of exploring a twisted version of a magical realm, this pseudo-trip to Neverland keeps things stuck in the real world that the kids of these stories are usually trying to escape.

Its relatable story is what really makes Sacramento a film that's worth revisiting again and again for its charming fable about the price of friendship and fatherhood.

Its genuinely difficult to think of a better feature debut in recent memory than How to Make Millions Before Grandma Dies.

The main central path brings with it a rewarding story that boasts the risks and payoffs of falling in love. The other thinner side paths on this road, unfortunately, frequently lead to dead ends despite being ripe for genuine expansion.

Altogether, The Fire Inside is a strong directorial debut for Rachel Morrison, boasting excellent performances from Ryan Destiny and Brian Tyree Henry.

Even the most jaded may be swayed by Perry’s latest demonstration of his skills at making movies that work simply but that also simply work.

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.

Despite one electric scene that makes the rest of the film feel more risible, Modi, Three Days on the Wing of Madness is a plodding, pretentious mess that is easily one of the worst productions of the year.

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.

Jim Carrey is the real star of this trilogy. Carrey's signature brand of improvisational comedy serves him well once again here, as his gleefully cartoonish villain continues to be a highlight of his recent acting works.

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.

While better than its prior installment, Mufasa: The Lion King still feels like an unnecessary prequel to an unnecessary remake.

With a lack of any undersea horror action, off-kilter characterization punctuated by poor acting, and a script that is taking itself way more seriously than it has any right to, there’s no enjoyment to be taken from this shameless attempt to capitalize on a lucrative IP.

Carry-On is pure escapist fare that you can turn on while sitting next to your Christmas tree, and it has enough energy that you won’t feel the need to check your phone every 10 minutes.

Dirty Angels is often too serious and too overtly political for its own good.

Kraven the Hunter's bland storytelling, subpar acting, and staggering technical issues are proof that the Spider-Man IP needs to be protected before it becomes an endangered species.

As your run-of-the-mill newsroom thriller, September 5 proves to be a riveting watch with two stand-out performances from Sarsgaard and Magaro and compelling direction from Fehlbaum.

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

If anything else, Abruptio will make you highly uncomfortable, and it's so unnerving that it will give you nightmares. Perhaps that's the whole point of using puppets.

War of the Rohirrim's storytelling woes might mean this isn't the epic return to Middle-earth that many Lord of the Rings fans may have been hoping for, but that's not to say the film's not without merit.

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.

Overall, the biggest takeaway that I had while watching Mary is that it was a missed opportunity. A missed opportunity to give the mother of Jesus more development than we've seen in prior depictions of the Nativity story, and a missed opportunity to truly show the cruelty of Herod's actions as a ruler.

The Order is a solid crime drama that sometimes hits too close to home, but that's what makes it so terrifying.

If Breakup Season has a lesson for us, it is that relationships can end even when we least expect it and that it hurts like hell. It is an odd message to deliver on a date such as Christmas, but even odder is how cozy it feels. The movie is bittersweet, sure, but the sweetness is still there.

It all leads to a final fight that should feel epic but ends up being more disappointment.

It is not a movie with the intention of entertaining its audience, but rather of challenging, reminding, and warning.

For all the charm and innovation that That Christmas is going for, it ends up being a predictable and rather deflated movie that is playing to a much younger audience than it lets on.

It's a good adaptation that stays true to the source material, but Chapter 2 still falls short of adaptational greatness.

Beyond the ‘90s references, Y2K is an underwhelming, but mostly entertaining movie that never quite goes as far as it should with its concept, comedy, or the relationships between its characters.

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.