The Balconettes is the announcement of a formidable comedic voice.

Steve and Audrey Zahn pull it off in a beautiful film that will uplift your heart after breaking it.

The performances of Holland and Mara mask the weaknesses of a slightly unfulfilled adaptation, which has charm in its flaws. The ending attempts to set the themes right, but needing to think about it afterward means it's not a film you'll forget about so soon. Seek out The Dutchman. It's well worth the challenge.

While her first outing as a writer-director is a mixed bag, Kravitz shows undeniable potential to join the ranks of performers who are equally exciting behind the camera as in front of it.

It’s evident right away that the people responsible for Being Mary Tyler Moore, a two-hour documentary about the personal and professional life of comedic-leaning actress Mary Tyler Moore, cared deeply about its subject.

If you want to give the 2024 film as fair a shot as possible, go in without seeing the original. However, if you only want to devote your time to seeing one version of this story, it should be the original Speak No Evil. It's truly one of the darkest, meanest, and most devastating horror films out there

Despite solid directing, effects, and production design at various points, The Kitchen doesn't explore its futuristic dystopia nearly as profoundly as it could.

Structurally, Missing can often feel a bit too much like Searching at times, but by the end, it finds its own path in this intriguing way to tell a mystery.

You get wrapped up in the whimsy of it all just before it all hits you like a truck, finding plenty of resonant emotional flashbacks that contextualize and deepen the experience just in time for the conclusion.

With Chivalry, John Woo scored an early hit that’s too often overlooked and under-appreciated. It’s a film of tremendous skill and promise, and a masterpiece in its own right.

While Devotion may not look to reinvent the genre, it does carve out its own space in this year’s impressive slate of war films. It’s a solid, straight-laced story, that doesn’t shy away from the realities of war or the 1950s. Once it finds its wings in the final act, it soars to a place of real power.

The Rule of Jenny Pen has a lot going for it. Lithgow and Rush pull off strong performances, the escalation of tension is well-developed regarding the scenes taken as a whole, and the central conceit of the doll is used to strong effect.

Tim Blake Nelson and Chloë Kerwin give life to Asleep in My Palm, helping to smooth over the narrative rough spots when it count.

With stunning performances, perfect needle drops, and thoughtful, loving direction, The Last Showgirl is a stylish, emotional, and visually striking work, and a worthy exploration of its impossible protagonist.

The film isn’t without its flaws and weird choices, but the fact that it works at all is a testament to the Zellner brothers and this incredible cast being willing to give their all for such a deranged idea.

Though it assembles some of the right ingredients before laying them out before you, it never proceeds to arrange them in any particularly interesting or entertaining way.

Even with some questionable choices, Holy Spider still packs a powerful punch, particularly in its third act, and one of the most disturbing final scenes you'll see all year that feels like the perfect summation of the past two hours.

Like the relationship between Lynsey and James, Causeway is a film that slowly grows on you, a film that puts on a tough front—with its devastated characters and desire for escape—yet at its center is a tremendous about of heart, love, with its found families and shared pain.

Chumbawamba was clearly a band that wanted to do great things and fell short of that goal, and similarly, I Get Knocked Down is a curious concept to explore, but gets bogged down in its apparent attempts to be weird for the sake of being weird.

With how prevalent the film's themes are in the world today, it's hard to imagine that someone won't find something to relate to in its many branching story arcs.

Wonka is a bit shaggy, with too many moving parts, but its spirit and its optimism—and a fantastic performance by Chalamet—make up for the film’s weaknesses.

The young cast helps elevate the comedy, but sadly the deeper conversations and relationships between the characters are never truly fleshed out.

The Sky Is Everywhere takes a lot of swings that miss, but the heart of the film is in the right place, and when it really works, The Sky Is Everywhere knocks these emotions and ideas out of the park.

Satire is one of the trickiest things to translate from page to screen and White Noise never really cuts as deep as it should because the communication of the jokes is so rushed — via DeLillo’s style that’s quicker to process on the page than it is to export to the screen.

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.

Chip ’n Dale: Rescue Rangers is an ingenious parody of our IP-obsessed culture that also manages to show how joyous and brilliant this combination and celebration of old properties can be when done extremely well.

The film does pull out all the stops for the finale but, for nearly every moment it stands tall in this conclusion, it also stumbles and falls in the getting there.

In this David vs. Goliath battle, the film gives hope that change on a large scale could be possible and does this in a charming, entertaining narrative with a great cast from top to bottom.