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.