Given that the two leads in this project don't seem to have a clear driving force to their actions, this feminist thriller does more to show the challenges that women face than to create fully developed characters. Although the film does end with a bang, these missteps leading up to the resolution make the final scene bittersweet.

Ambitious yet focused, it is a film that draws from both history and fantasy that it then shapes via joyous music. The result is an epic that makes the most of its magic, eschewing the regrettably typical constraints of the form to become something that is both deeply reflective and beautifully realized.

With a phenomenal performance from Frank Dillane and a thoughtful, open approach to those who lose their way in life, Urchin is a worthy contribution to the cinematic portfolio of British realism.

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.

Better Man is in a category of successful biopic dramatizations all unto itself.

For those drawn to the bent, who crave some "Cheepnis" in a cinematic landscape of overproduced and overpriced madness, they just might fall in love with Dead Lover for all of its foul, fecund, and farcical facets.

After all these years, Left-Handed Girl is a terrific return to directing for Shih-Ching Tsou, who crafts a wonderful, often moving, and splendidly told story of three characters coming into their own.

When watching The Feeling That The Time For Doing Something Has Passed, the brilliant comedy from writer-director Joanna Arnow in which she also stars, both comedy and tragedy are expertly wielded in her hands.

Much like the character he plays, Mikkelsen does a lot with very little, giving life to a barren world that is often defined by death and suffering. It is in his piercing stare that we are taken into the entire interior world of tumult he is trying to contain.

Told from the perspective of a “presence” in a house, Soderbergh explores this type of horror story in a way that only he can, playing with the structure of similar films, screwing with our expectations for this type of film, and once more, testing himself while showing the untapped potential in the genre.

Maestro is a refreshing subversion of the classic biopic.

Lord and Miller have created a new sci-fi classic, an incredible adaptation of Weir’s novel, and a film that deserves to be a part of 2027 Oscar consideration already. With Project Hail Mary, Lord and Miller have crafted a film that’s truly out of this world in every possible way.

Twilight of the Warriors: Walled In is still a more than competent, entertaining, action-packed ride, even if it's not the most original in terms of its plot.

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.

Thelma could’ve been a one-note joke, but Margolin’s script makes being elderly a strength and not a weakness.

It is a deft mix of comedy, romance, and suspense typical of Hitchcock’s formative British years.

Baking up a storm of humor and heart, the pro-shot Broadway production with Bareilles leading the charge is the perfect treat this holiday season.

Love Lies Bleeding is an exhilarating experience that will make you groan, laugh, cringe, and swoon. This is a remarkable second film from Glass, showing her tremendous ability to build tension and create an entirely unpredictable thriller that won’t be easy to forget.

The Invite might seem like a simple idea, but Wilde, as well as Jones, McCormack, and her excellent cast, make this into a compelling, delightful, and moving comedy that's more intricate than it might seem.

Not only is this documentary a microcosm of the country at large, reflecting real life in the way that charisma and the ability to fire up the masses can make all the difference when it comes to politics, but it also gives us a sense of what the future can look like.

Ha-chan, Shake Your Booty! will likely gain criticism for its simplicity and earnestness, but I would argue those are the very things that make it so special and effective. It’s also an enormous triumph on a craft level, with stunning direction buoyed by equally gorgeous production design and cinematography. Throw in moving performances and beautiful choreography, and there’s no doubt you’ll be moved to get up and shake your booty, too.

Shinkai uses magnificent landscapes as the background of a story about love, trauma, and finding out who you are. There's much to love about Suzume, and more than enough for us to be excited about whatever the filmmaker comes up with next.

Road Diary: Bruce Springsteen & The E Street Band is a straightforward yet enjoyable trip with one of the best live bands ever to exist. Yet considering the story that this tour has told so far, it's a bit of a shame that Zimny's documentary doesn't explore the entirety of what this road diary had to offer.

An exciting and terrifying horror movie, a fresh and nuanced entry into the zombie catalog, a mesmerizing philosophical tale, all packed into a coming-of-age structure, 28 Years Later is one of the best zombie horror movies we’ve been given in years.

At the end of the day, Rehmeier's take on an outlaw romance wrapped in a road movie is entirely too enjoyable to give too much hate to. From the country music needle drops to the oozing on-screen chemistry, anyone who loves a good crime movie that doesn't take itself too seriously will need to get their butts into the theater for this one.

After pushing up against the confines of a conventional musical biopic, it does end up mostly operating within them, hitting all the notes you’d expect it to hit, but that doesn’t mean it doesn’t ring mostly true when it counts.

Father Mother Sister Brother does have little pockets of Jarmusch's genius scattered throughout, but not enough to make up for how unfulfilling the entire experience is.

The actors do well working in Manuel’s specific directing style — one that’s characterized by unhurried dialogue — it’s just that the style doesn’t always resonate, tamping some of its power instead of enhancing it. Filipiñana is a feast for the eyes, but you’ll likely still leave hungry due to the punishingly slow pacing.