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.

I was ready for Kill Your Lover to be a better concept than execution, but that’s not true. Its flaws are apparent, from a forced feature duration to inevitable conclusions, but there’s nothing detrimental enough to ruin an otherwise impressive original horror creation.

Eephus delivers an experience that lingers, successfully capturing a deeper melancholy that can’t be shaken.

While the more extreme moments of the film may capture the most attention on first watch and are remarkably well-executed, Potrykus deserves praise for how precisely he captures the depths of pain that come pouring out of people like the ash out of a firework.

Morrisa Maltz’s Jazzy is a gentle, impressionistic wonder that authentically captures growing up.

Robot Dreams is a beautifully animated look at life, friendship, and what it means to grow apart.

Along with his co-writer Bossi Baker, Erkman has made a distinctly eerie and sinister debut that succeeds at sneaking into the depths of your subconscious.

What makes The Damned so effective is how grounded it all is in the characters and their perception of the 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.

I see dead people in this film, but their cause of death is simply boredom.

A Part of You is touching and effective without ever veering into emotionally manipulative or exploitative territory, which is not an easy feat when you’re dealing with this subject matter, especially in this genre

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.

It doesn’t deliver a knockout like some of Miike’s other films, but it still manages to beat all it has working against it into submission. One can only hope it manages to beat the odds again and find the audience it deserves.

Bad Boys: Ride or Die might explore too many plotlines or bolt between too many characters, but brains-free enjoyment reigns supreme.

Backspot is a film that, missteps aside, is elevated by a great performance by Devery Jacobs and a terrific ending.

Jim Henson Idea Man is an adoring look at this remarkable man that never slips into hagiography, yet, it’s a documentary that will only make you appreciate the multitudes that made Henson who he was.

Young Woman and the Sea puts its own twist on the inspirational sports movie, with a powerful turn from Daisy Ridley.

Oh, Canada is a more reflective work from Paul Schrader with plenty on its mind that still falls short of his best works.

Bionic is another sci-fi dud for Netflix, bringing nothing new to the genre and not much more to its action sequences.

It's a remarkable, revolutionary work of art. As precisely focused and tightly constructed as it is expansive in its aspirations, it’s a rallying cry for the irreplaceable value of artistic expression in a world that will repress it at all costs.

The Apprentice is a film that delves into the figures who shaped Trump’s worldview while never becoming a hall pass for the bad behavior of men like him.

While hardcore fans won't learn anything they didn't already know, 'The Beach Boys' documentary is a perfectly entertaining love-letter to the SoCal band.

It’s moderately entertaining thanks to its VFX but falls short on its performances and story as the overall idea exceeds the final product.

Crowder’s documentary could have just felt like another puff piece and, in some ways, it can be. However, the movie always feels completely genuine and told from the heart.

The Garfield Movie is silly to a fault, feels seventeen hours long, and lacks any pulse of life.

Coralie Fargeat’s The Substance is a film whose style might get in the way of the substance, but it still ensures the filmmaker will have a legion of new horror fans waiting for what she does next.

Anora is Sean Baker's most searing and shattering film yet with a breakout performance from Mikey Madison.

It lacks the electricity of his past works but, as we come to see, the lifelessness of it all, is, in many regards, the point of the whole thing. It's about carrying on when nothing makes sense.