With a well-composed original soundtrack and stunning visuals, Spellbound is one of the best animations of the year.

It's an engrossing thriller that reels you in with its unconventionality and offers up something different in a largely uniform genre.

Inside Out 2 takes complex ideas and emotions and turns them into a delightful animated adventure, and one of Pixar's best films in years.

As one of the year’s most delightful surprises, The Sheep Detectives is a charming, smart, and sincerely heartfelt whodunit that proves even the smallest voices can carry the biggest stories. But best of all, it’s also the kind of film you don’t expect to love this much and one you won’t forget anytime soon!

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.

The editing in Super/Man is perfectly handled, taking what could’ve been a straightforward documentary and turning a life into a collection of what makes us who we are—both the good and the bad.

A thriller that starts solidly enough and picks up steam before blowing the doors off with an outstanding ending, Magpie is one of those rare films that feels both fresh and alive while building off classic genre works of the past.

Cregger shows with Weapons how perfectly he can balance horror and comedy in equal measure, always walking the line between these two in a film that is both unsettling and deeply funny. Because of this, Cregger has made what might end up becoming the best horror film of 2025.

Sing Sing feels like a true ensemble piece, giving all of its characters a chance to shine.

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

Come See Me in the Good Light is a shattering, yet lovely documentary that’s easily one of the best of the year.

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.

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

With immersive action set pieces, heartfelt snippets of character-driven stories, and fantastic performances all around, Steve McQueen shows again his adept ability at bringing such enormous scope to deeply personal human stories.

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.

On balance, Twisters is nonetheless a thrilling crowd-pleaser that takes the disaster picture in exciting, novel directions, and an excellent showcase of talent across the board.

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.

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

This is the story of one who stood up, with all his faults and flaws, one whose ideology you may not agree with, but whose capacity to show justifiable rage speaks for those too cowardly to act. It’s here that Pink’s film derives its most impressive impact, and while few may mourn for The Last Republican as both the nation and the world race toward a chaotic, uncertain future, the end result is easily one of the best docs of the year.

What Lowe accomplished in only her second full-length feature in roughly eight years shows such promise as a daring filmmaker with an original voice that deserves a megaphone, and I can only hope it doesn't take eight more to see what comes next.

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.