Jalali creates a unique dramedy that will be remembered for its solid direction, powerful performances, and eye-popping cinematography.

First Kill is a smart, tight film that fits perfectly into what the first Orphan film set up over a decade ago.

On paper, it already doesn’t seem like it makes sense as a Blomkamp film, and on the screen, he makes even less sense for this project. In the world of racing films, Gran Turismo is merely drafting near the back.

It is very much an ensemble film, yet it also serves as one of the final demonstrations of how Cloud could command a scene like no one else. That alone makes Your Lucky Day a bittersweet gift, but the sharp film also has quite a lot else going on as well.

The Bob’s Burgers Movie isn’t exactly breaking new ground for this world and these characters, but instead, is showing how impeccably crafted and brilliant this world is when it's firing on all cylinders.

For a studio renowned for the time and attention it gives both the technical and storytelling sides of its production, the finished product is remarkably uneven. Yes, it’s great that there’s a new Studio Ghibli movie, but that doesn’t mean that the new Studio Ghibli movie is great.

Despite its flaws, Something Wicked is the great standout from Disney’s experimental phase under Miller.

In a filmography that is full of impressive journeys through space, history, and staggering emotions, Armageddon Time feels like one of Gray’s most ambitious tales so far, even if it isn’t quite as effective in presenting its ideas as it should be.

As a documentary, Sorry/Not Sorry isn’t groundbreaking in terms of form or information, but it does feel important in the larger conversations that Suh and Montes are exploring, as C.K. isn’t the first nor will he be the last celebrity to have the pain they've caused unveiled to the world.

The Invitation offers an inventive reimagining of a literary classic while asserting itself as a fun addition to the modern Gothic canon.

Hustle isn't breaking the mold of what a sports film can be, but it is yet another reminder of Sandler's gifts as a dramatic actor through an extremely charming and compelling story about a mentor trying to help another reach their potential.

It is one worth putting on your radar even as it magnificently goes all over the map into the cosmos the longer you get lost in it.

Even though Sidney takes a fairly elementary look at Poitier’s career, it’s still extraordinary to see the contributions this man had on the world lined up in this way. Poitier left an indelible change on entertainment, the culture, and society at large, and Sidney makes us aware that this world wouldn’t be the same without Poitier.

There will always be much to the film that is too distant, but the moments where Stolevski pulls us in closer make its portrait of passion resonate where it counts.

At its core, Vesper feels like a dark fairytale, like something born from the haunted tales of Grimms' Fairy Tales.

While Copa 71 can feel a little surface-level at times, it’s still an enjoyable watch and a solid introduction to an event very few remember.

It’s a film that doesn’t feel the pressure of reminding the audience that it’s a comedy, which makes the story and the dysfunctional—but very loving—family that much more endearing and authentic to real life.

Both in terms of the way he lays out all the information and the craft of the filmmaking itself, Kohn shows greater patience in drawing everything out. That it teeters on the edge of the grim acknowledgment that even its truths may not be enough to change our perception of this industry and the power it holds makes it all the more enthralling to behold.

By capturing Flipside in this way, Wilcha shows the weird, unbelievable nature of life and the surprises that make it such a beautiful mess.

Contrary to modern fairy tales, Squeal doesn’t have a clear moral lesson, giving the viewer the hard work of reaching their own conclusions. That’s part of what makes Squeal so enticing, as the film allows multiple readings about vile work structures, the possibility of being happy in an abusive relationship, animal abuse, and even the meaning of freedom itself.

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.

Death on the Nile might have been a long time coming, but it’s one of the most alluring mysteries in years, and a great example of how Branagh can elevate iconic stories with grace and care.

A film so quirky that it’s ready-made for a Wes Anderson remake.

It is a beautiful, haunting, and heartwarming look at the tidal wave that trauma brings not just to one person but their entire circle. With subtle but sharp notes on MeToo, cancel culture, online trolling, and sexual assault, I Used to Be Funny is a searingly relevant film without making that its main objective.

Through We Feed People, Howard shows how impressive and powerful Andrés’ operation is, often covering large areas that need disaster relief. At certain points in We Feed People, even the Red Cross and Salvation Army are asking for help from Andrés in these truly awful times.

It’s a long, hard ninety minutes, even with someone as charming as Farrier leading the charge, but that ultimately feels like the point — that minutes turn to hours with Michael Organ.

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.

Fennell’s direction outdoes her writing here, and the cinematography from Linus Sandgren is exquisite (no surprise).