It isn't swayed by anything other than the truth as it crafts an uncompromising and steadfast deconstruction of whom the artist the world knew as XXXTentacion actually was. Moving beyond the headlines, it emerges as an absolutely essential piece of filmmaking.

If you were a fan of Beavis and Butt-Head, you will love them doing The Universe. They haven’t changed a bit, even though the world around them has changed. It is delightfully charming and ridiculous and completely expected, in the best way possible.

Zinnemann is honest in his depiction of the raw, unfiltered emotions of displaced children, making The Search one of the most searing examinations of war’s impact ever put on screen.

It’s open enough to be perceived as a character study, a horror story, or something different altogether. But what is indisputable is the movie’s excellent use of wide shots and close-ups, the gorgeous production design and cinematography, and Woodvine’s quiet but compelling performance.

For me, it’s the film to beat this year, easily taking the crown as my favorite scary movie of the last several years — even if all the scares come from the idea of what might happen when your closest friends turn on you.

While the Hollywood legends don’t disappoint, it’s their children who steal the spotlight. Being able to hold your own in—let alone carry—a movie alongside those heavyweights is no easy feat, but it’s especially impressive considering Schuyler and Jake are not household names.

Hello Dankness uses a specific language that might alienate part of the public. But any attempt to make the movie more accessible would diminish the mesmerizing effect of watching a feature-length meme.

Part true crime legal thriller and part family drama, Triet's Palme d'Or winner is a thrilling story about perception, truth, and ambition.

Whatever you take away from it, the uniting fear Skinamarink creates ensures it will be remembered as an unparalleled achievement in horror cinema in how it paints a portrait of oblivion that beckons us into dark recesses from which there is no escape.

Poor Things is a staggering accomplishment of a movie, a film that feels so uniquely Lanthimos, and yet, with a heart and a shocking amount of joy and enthusiasm that shows the filmmaker pushing his style and boundaries as much as possible.

While the kills in the first movie were quite imaginative, they also erred slightly into the fantastical. The Wrath of Becky grounds its kills more in reality, but it doesn't pull back on the gore whatsoever.

Song’s work here is incredible, as this story of the past and present, and what it means for the future is a carefully handled story told with love and heart. Greta Lee, Yoo Teo, and John Magaro make an incredible trio of performances, each of which hits on a unique and important perspective on this tale, in a film that you won’t want to leave, and will stick with you for long after.

There is no comfort when watching 20 Days in Mariupol, but it's the bitter pill we must all swallow to remind ourselves of what people are going through every day in Ukraine. Chernov's account is but a snippet of the war and should galvanize people into action.

An immensely enjoyable treat, The Pez Outlaw is cleverly filmed with the highlight being Glew playing himself and seemingly having the time of his life. With references to Citizen Kane and Charlie and the Chocolate Factory, the whimsy is part of the effortless charm of the doc, and Steve and Kathy bring the heart.

Oppenheimer is a towering achievement not just for Nolan, but for everyone involved. It is the kind of film that makes you appreciative of every aspect of filmmaking, blowing you away with how it all comes together in such a fitting fashion.

Not only is it a stunning piece of filmmaking that is as rich in detail as it is patient in its exploration, but it also makes the most of absolutely every single element of its slice-of-life portrait.

What is undeniable is its sense of vision, a fully realized work that marks Colbert as a director to watch in absolutely anything she takes on next.

With BlackBerry, Johnson manages to craft a thrilling and moving story about friendship, pride, and the brutality of the free market.

The film masterfully balances comedy and crime-solving, showcasing the chemistry and wit of its lead characters.

A good thriller will ramp up the anxiety with each step as it hurtles towards its conclusion, and Fair Play does not let up until the very end, offering a twisted and toxic tale of a couple driven to the brink by a shift in power dynamics.

Once conceived as a faithful adaptation, it morphed into something that not only made it stand out, but surpassed the original. From changing the character dynamics to challenging the first film's reputation, it proved to be a beloved screwball comedy that still has viewers laughing more than 80 years later.

Everything is glued together by another Dafoe performance that proves he’s one of the greatest actors of all time, especially when given enough room to tap into the lunacy of his characters. In short, Katsoupis managed to craft a crowd pleaser that still has something interesting to say.

If there's one Hitchcock silent films fans should see, it's this suspense-filled thriller, which provides an early indication of why and how he earned his 'Master of Suspense' title.

Most importantly, Abbott and Costello Meet Frankenstein doesn’t pretend to mask itself as something more than a cheap thrill, but it’s that tongue-in-cheek self-awareness that not only made it a box office smash, spawning several sequels, but the birth mother of an entirely new genre altogether.

It strikes at the core of what makes us human, our hopes and fears and the relationships we invest ourselves in. It is community as art as activism in one giant loop, filtered through the gaze of a woman so unflinchingly tireless in her efforts that you cannot help but be on her side.

It epitomizes and distills all of Hammer's hallmarks into a product that’s so damn good, it’s hard to find fault.

As an example of artistic propaganda, a film that drives home a message while maintaining creative credibility, it remains second to none.

Anderson has executed an unbelievably rare feat: a big-budget studio action film that maintains his specific tone and style, with a film that feels essential to our troubled modern times.