Ross has found an overwhelmingly perfect way to bring Whitehead’s story to the screen, one that feels like a step forward for how cinematic stories can be told. It’s beautiful, heart-wrenching, and refreshing in equal measure. Now, Nickel Boys is a masterpiece in two different formats.

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.

Moana 2 explores the possibilities of this universe, and builds on the bond between Moana and Maui, but stays a bit too close to the original's formula.

Flow takes a fascinating and effective approach to animated stories and shows that the barrier between the two types should be broken down more often.

In a land where truth is habitually stripped away in favor of political and religious control, Bread & Roses serves as a reminder of the bravery of those who sacrificed all for the love of their country and community.

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

Despite some issues with pacing and its exploration of the two main storylines, this buddy comedy is entertaining and powered by a delightful trio.

It features a predictable love story with two charming leads, spicy but comical all-male performances, and a fast-paced plot that will pass you by. Beware, this isn't a groundbreaking watch by any means. It is just another cozy title to keep you in high spirits while you sip hot chocolate and control the urge to unwrap presents before Christmas Day.

Wicked defies gravity for a soaring, beautifully sung return to Oz with wonderful vibrancy and a true sense of scale.

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.

A solid performance from Jason Patric does give the film a little bit of extra mileage, but weak action and an utter waste of Sylvester Stallone's talents as both an actor and action star bog the film down in too many issues to count.

It’s constantly trying to build its own strange mythology to set up sequels that might never come, cracking jokes that rarely hit, and struggling to decide whether it wants to take itself seriously or be more self-aware about its general absurdity.

An Almost Christmas Story is a clear homage to the bygone era of holiday storytelling. Its attempt to emulate that era does admittedly lead to some familiar beats, but An Almost Christmas Story has enough charm and personality to make up for that.

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.

Elevation is a thin story with every trope and stereotype you've seen from better monster movies

Christmas Eve in Miller’s Point manages to bring to life a realistic portrayal of the holidays, in both its ups and downs, that few holiday films ever even try to accomplish.

It’s an electric, atmospheric, and deeply soulful look at what it means to be human, what it means to have empathy, and how faith should never come before people.

Pedro Páramo uses its supernatural language to inform the audience of the consequences of a collective wrongdoing. It is also remarkably efficient at communicating different storylines to the audience without making viewers get lost in the process.

While the film does make an admirable effort to focus on Neeson's action hero as a true character rather than a mere blunt instrument for fight scenes, but thanks to an overly cliché screenplay, the movie will likely be another forgettable action film in Neeson's filmography.

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.

It’s an experiment that only works here and there, yet when it works, there’s beauty in those rare moments.

The Gutter demands that you’re on its wavelength, but once you’re there, it’s like continual machine gun fire the way jokes and sight gags fly off the screen.

All in all, the movie is a series of missed opportunities to create compelling storylines, and it's a shame that it doesn't use anything it presents on the screen to its advantage.

It's considerably elevated by strong performances and some excellent directorial and cinematographic choices, but it ultimately is undone by details and narrative pivots that don't work.

If you are hoping to double down on the gore this Halloween season, this delightful, yet cheesy title will fit the bill.

While Ma’s script can feel broader than one might like when it comes to the core dynamic between Sara and Sumi, it thrives as a love story and character study and offers enough heartwarming moments of humor to make it well worth your while.

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.

It's a beautiful tribute to a legend, packed with footage and interviews that highlight his accomplishments and unique talents, though at times a greater focus on John Williams the man, or a follow-up on certain thought-provoking threads, would be welcome.