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.

Despite all its flaws, Door Mouse remains an interesting cinematic experiment. And we must commend Jogia for his devotion to comic book language.

This incredible cast, especially Washington, Nielsen, and the overlooked Pascal, and this expansion of the compelling political machinations make Gladiator II a worthwhile sequel, even if it can't match its predecessor. Gladiator II will leave you entertained, but leave you with an unfortunate feeling of déjà vu.

Much as he’s done in the past, this film dissects the casual cruelty of love and relationships through a combination of the filmmaker’s distinct sense of dark humor that occasionally flirts with something closer to a more strange sociological horror.

There's no question that it carries all the hallmarks of a low-budget Corman effort. That being said, there is the feeling in Dementia 13 that there's a filmmaker behind the camera that really cares about the story at hand.

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 Apprentice is a film that delves into the figures who shaped Trump’s worldview while never becoming a hall pass for the bad behavior of men like him.

Love triangles, secrets, murder, and wild courtroom drama make for a gripping Hitchcock classic.

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.

The Bad Guys brings a deep love for heist films to this animated adventure, and in doing so, creates one of the year’s best animated films.

Words of War may not be a film that does anything stylistically or creatively to reinvent the wheel, but it has a message that transcends the bounds of art.

The script might have glaring flaws and painfully ambiguous morals, but The Creator is a truly remarkable piece of original science fiction storytelling. Even when it borrows from ideas established in films that preceded it, Edwards manages to make it feel fresh and new. The Creator is a beautifully crafted, albeit imperfect, science-fiction thriller that tries to unravel what it means to be a good human in a bad world.

Theater of Thought could've easily become a straightforward documentary about the evolution of thought and the fascinating science behind our brains, yet in the hands of Herzog, this topic becomes far more entertaining, as he approaches the topic with a wide-eyed wonder that lets this subject go down smooth.

The style, tone, heart, and comedy of Aardman deserve better than Dawn of the Nugget’s formulaic story which doesn’t hold a candle to the original.

It’s a film that’s serious about play, and humble about the need for joy. Piece by Piece is, quite simply, bricktacularly brilliant.

NYAD may use the well-known formula of the underdog eventually proving everyone wrong, but it doesn't feel that formulaic much due to the teamwork on screen and behind the scenes in this film.

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.

Even with striking visuals that offer compelling depth and beauty to Minahan’s overall look, the film’s inability to keep a consistent pace and tone, or even establish its primary focus through its leads undercuts its biggest, most poignant messages.

What keeps the movie going when the script starts to run out of ink are the brilliant performances all around.

Though possibly well-intentioned, the execution of The Covenant ensures its narrative and thematic potential is drowned out in the roar of gunfire it becomes far too enamored by.

While it is undeniably a character study with both the actors at the very top of their game, the story itself is perfectly suited for them to shine.

A New Era shows that Downton Abbey doesn’t have to sacrifice joy to also explore sorrow and pain. Amongst charming tales of Hollywood and French getaways, A New Era delves into loves lost, missed opportunities that leave its mark on our lives for years, and how one will be remembered long after they’re gone.

I Want Your Sex proves that every generation needs its own Araki film.

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.

While hardcore fans won't learn anything they didn't already know, 'The Beach Boys' documentary is a perfectly entertaining love-letter to the SoCal band.

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.

Alfred Hitchcock's Mr. & Mrs. Smith is a chuckle-filled screwball comedy featuring one of Lombard's greatest comedic performances.

At its very core, Knock at the Cabin works because it reminds of the early days of Shyamalan, when he felt like the next coming of Alfred Hitchcock, and his films would leave the audience talking for days after.

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.

Schrader is able to prune back some of his more established impulses to service this particular story.

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.

There are great ideas throughout Fingernails and strong filmmaker instincts, but it also feels like a film that should’ve gone just a bit deeper into this world, its love, and its ideas.

Östlund's comedy of inequality and broken class structures might be a bit too blunt at times, slightly too long, and is often best when at its simplest, but Triangle of Sadness is too fun and ridiculous to not enjoy, and compared to The Square, is a step-up in Östlund's criticism of the bourgeoisie.

Pablo Larraín's Maria is a one-note exploration of another public figure that just makes the same points over and over again.

For Andrews, Bring Them Down is a capable, intriguing debut, but it needs more depth than this revenge tale has to offer.

A tense atmosphere and great acting make up for some lackluster characterization choices.

For all its visual polish and strong performances, Faces of Death remains caught between commentary and replication. It wants to critique our obsession with violence, but it can’t quite resist indulging in it, too. The result is a film that feels acutely aware of the cultural moment it inhabits, yet strangely hesitant to push beyond it.

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.

This movie wants to get in, get the job done without complication, and get out before it overstays its welcome. On that front, The Rip is solid enough to earn a mild recommendation.

Beau Is Afraid is bold, enthralling, and unlike anything you've ever seen before. Whether that's a good or bad thing, well, Aster leaves how we enter this shrieking void up to the viewer.

The twist is detailed but not too convoluted, and in my view, it's not easy to see coming. If anything, A Haunting in Venice is a reminder that even when we are inundated with mystery stories, no one does it like Agatha Christie, and it's hard to believe that someone ever will again.

If you were an HQtie (as Rogowsky affectionately dubbed regular players) back in the day, you might find watching this documentary to be 90 minutes well spent. But if you weren't playing the game, there's not much of a case to be made for checking out Glitch.

While vast in scope, Fighters perfectly weaponizes the magnitude of its stars and utilizes their shared likability to build a real sense of camaraderie among the squadron. This emotional investment proves vital.

This adaptation captures the atmospheric and sorrow-laden storytelling that comes with turning the pages on Richard’s final days.

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.

With Thanksgiving, Roth brings horror back to basics and reminds us that it can be nasty, gory, gnarly, and a ton of fun all at once.

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.

While there may be one or two too many callbacks to the first film and a couple of unnecessary subplots, the sequel doesn’t rely entirely on nostalgia, nor does it strip away everything that made the original great. Maybe it’s not a perfect balance, but it’s pretty close to it. I don’t think I’ll be quoting this one as frequently as the first, but I certainly see myself grabbing some popcorn and peanut M&M’s for a pretty epic double-feature in the future.

Unlike the real-life woman, Lee settles on being ordinary when it could have been extraordinary.

The Sweet East ends up saying quite a bit, though little leaves any real impression.

Hell Hole is a solidly gory, goofy little ride that cuts through any hiccups to get to the meat of a madcap indie monster movie.

With Phyllis Nagy at the helm, Call Jane had all the potential in the world to be something revolutionary, but it ultimately chose to take the path of least resistance. It leans into a very glossy feel-good “girl power” energy, ensuring that its audience never once feels true discomfort when discussing uncomfortable truths.

It’s the movie’s efforts to make this as digestible as possible for the audience through its light-hearted tone and simplistic dialogue that render it a movie you watch on Netflix with your parents and probably never think about again.

While it never fully succeeds, Khan understands that strange in-between place that ‘80s films exist in and mimics that energy well, even if the script doesn’t quite keep up.

Gillan gets a great opportunity to show her comedic skills, and Stearns remains a solid purveyor of dark comedy, but Dual’s gloom eventually overtakes the absurdity to a depressing degree.

Though powered by incredible performances and worldbuilding, what truly leads The Assessment to have an exceptional final product is its refreshingly original premise. The script, written by John Donelly, Nell Garfath Cox, and Dave Thomas, takes full advantage of the sci-fi genre to tap into relevant topics such as climate change, parenthood, and elitism.

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.

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.

Young Woman and the Sea puts its own twist on the inspirational sports movie, with a powerful turn from Daisy Ridley.

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.

Even when it can risk falling into being a little repetitive and dulling its impact, it will swerve in just the right way to keep you on your toes.

Stay Awake is certainly a balancing act of addiction, compassion, difficult choices, that still manages hilarious moments and periods of joy. Stay Awake isn’t just an integral film about addiction, it’s also one of the best directorial debuts of the year.

Since a creature feature lives and dies by its monster, Troll has the clear advantage of conjuring a magnificent beast from Scandinavian folklore. Of course, that might not be enough for viewers looking for something fresh to watch. Even so, Uthaug ultimately succeeds in developing a movie that’ll most likely please fans of giant creatures.

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

Burton’s vision from 1988 remains fully intact. If anything, he has expanded on world-building. It’s the best possible outcome from the studio’s blatant cash grab as a singular vision is rigorously and thoughtfully preserved in the storytelling.

In the moment it works, and despite its flaws, Goodrich is just more proof of how good we've got it that we get to witness an actor like Michael Keaton.

Overall, in spite of its stumbles, Red, White & Royal Blue is a charming and diverting rom-com that introduces a welcome new viewpoint to the long-running genre — and Alex and Henry's journey to love is sure to please both longtime fans of McQuiston's novel as well as newer arrivals who are looking for a mostly solid entry point into romance itself.

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.

For all the ways the film holds us at a bit at a distance, the performances do wonders in closing this gap.

The budget might have ballooned to ten times what Terrifier had, and the kills have gotten far more gruesome, yet Terrifier 3 is still the same mixed bag that this franchise has always been.

The Mardini sisters in real life went through hell, and their journey is incredibly powerful, considering what they went through. But The Swimmers only occasionally gives this story the power that it needs, instead, falling into easy tropes and an unfocused narrative.

The out-of-this-world premise about a woman befriending the alien clone of her dead best friend is a Trojan horse for a deeper meditation on loss that’ll remind you to hug your friends a little tighter.

All The Old Knives attempts to convince its audiences that it is a tawdry game of chess, but in reality, it’s a game of checkers. Pine and Newton are its saving grace, with their performances elevating it just above the waters of drowning in its own self-importance.

That it holds together is a testament to the cast who it feels like are battling against clumsy escalations that go bigger and louder when the quieter moments carry with them a far more tactful deployment of emotion.

With weak leads and shallow characters, Fall fails the audience by its inability to present human beings we can care about.

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.

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.

I Want You Back largely relies on the overwhelming charm of its tremendous cast, and in particular, the magnificent dynamic between Slate and Day, but that’s all I Want You Back really needs.

Power Rangers: Once & Always doesn’t make the same mistake as the 2017 feature film Power Rangers, which took itself way too seriously when it didn’t need to. At the same time, the special is too aware that it should be a little serious, which prevents viewers from having fun with the truly campy moments that, although rare, fire up the screen when they pop.

While there is certainly still much that you feel like you want to know about Stallone at the end when it all neatly wraps up, Sly manages to be a documentary befitting of its subject with unexpected poignancy and just enough revelations to land some key punches before dancing away with a one-of-a-kind smile.

For all the ways it takes flight towards the end, Plane is an action flick that is mostly plain, the greatest sin for any film that should and could have gotten wilder.

Daddio is a repetitive and reductive experiment in dialogue-driven storytelling.

Sick is a decent slasher that hits all the right buttons, has some good scares and bloody kills, and has a unique take on the slasher tale—as long as you have the patience to get there. But considering this is from the writer of Scream, it’s hard to not hope for a little bit more than this.

The film plays with a lot of subgenres — locked door mystery, slasher film, haunted house, alongside the obvious vampire story — that it almost seems like Radio Silence couldn’t decide what their favorite was and opted for a taster menu of everything. That works in its favor occasionally, especially since its monstrous little ballerina, surprisingly, takes up so little of its screen time.

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.

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.

Cuckoo will most certainly not be for everyone, but for those looking for a horror film that draws you in just as it defies any of your expectations for where it is supposed to go, it’s hard to think of a trip this year you’ll find that is as bold and bonkers as this one.

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.

There are several interesting ideas and stories floating around Eric LaRue, but Shannon can’t seem to decide which ones to focus on. While there are some genuinely fantastic, inspired moments, they frustratingly never quite come together, leading to a baffling viewing experience. Hopefully, Greer will get another chance in the spotlight of a more worthy film.

How to Train Your Dragon is the gold-star example of how to do a live-action remake right.

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

A razor-sharp, emotionally-devastating crime thriller where the stakes are high, and chances of justice are low.

Rosaline's shows its strengths when it focuses on the parallel story of Rosaline and Dario, but when the narrative crosses paths directly with Shakespeare’s story, Rosaline starts to fall apart, becoming a muddled mess of modern references, unusual characterizations, and ideas that don’t mix as well as they should.

Good Fortune is about love, redemption, and privilege, but it's also an indictment of exploitative labor and the forces that enable it, even if it takes many clumsy steps to get there. Its greatest strength is a reminder that being a good person doesn't get you a reward — being a good person is the reward.

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

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

Like the songs it’s built around, it’s simple and familiar, and sometimes that’s enough to make a movie feel so good, so good.