The Mastermind vascillates between wanting to lean into the thrills of a heist and falling back on Reichardt's tried-and-true formula. The result is a confusing mix of tones with a fairly basic concept that rarely dips below the surface.

If you come solely for the comedic stylings of four powerhouse actors, Mountainhead will certainly win you over if you don't take it too seriously. But should you expect a scathing takedown of Big Tech's best and brightest, the movie will act largely as a reminder that watching a bunch of rich guys spout off ignorant crap inevitably gets old and adds nothing to the conversation.

The New Boy is a movie about how colonization can disguise itself as kindness, and how that kindness is still violent and destructive.

It's not breaking any new ground, but Prom Queen is a solid enough teen slasher that does a nice job of continuing the ever-expanding universe of R.L. Stine.

Artfully combining song, romance, and unique settings, Oliver Hermanus offers a heartbreaking and emotional film that reminds us not only of the enduring nature of love but also the power of sound and song.

Trier's understanding of complex family relationships and his ability to portray them honestly make this yet another win for him and a solid entry into his filmography.

It's a film that you start desperately wanting to like, perhaps because it deceives you into believing it is something other than a violent power fantasy. As the film comes to a close, all that is left is a sour taste in your mouth.

It's a perfectly watchable movie that feels designed to keep you entertained for two hours on a rainy Sunday afternoon.

An unrelenting and visceral experience, Julia Max's feature film debut boasts unique and enthralling horror that is more than worthy of haunting your screen.

Despite beautiful shots and strong performances in the film, what ultimately comes up lacking is the story.

In the end, Splitsville is a lot of stupid fun told smartly, unafraid to lean into the salacious while still somehow maintaining an emotional groundedness.

Eagles of the Republic's greatest strength lies in Fares Fares, who is all too convincing as a superstar actor in Egypt, striking a delicate balance between his comedic scenes and dramatic ones

Lilo & Stitch feels like it was made by a boardroom of folks who wanted to sell more Stitch merchandise. Chris Sanders and Maia Kealoha have enough charm to keep families entertained, but it's also hard to deny that these two characters are just as, if not more, endearing in a film you can watch right now on Disney+.

While it's far from Lee's best, Highest 2 Lowest is an entertaining watch, and for lovers of Denzel Washington, it's a must-see.

Moving, emotional, and ultimately cathartic, Renoir is a quiet and stirring coming-of-age story that reminds us of our own childhood and the impactful time that can be.

Ducournau's story is brilliant, but without the leading actors of the film, the movie wouldn't have been nearly as impressive.

Laxe is aiming to shock the audience, and in that, he succeeds, but the final product suffers as a result.

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.

The ensemble is the main reason why the film has its delightful instances, especially when it comes to the scenes in which He, Ka-Yan Lam, and Chau are featured. But, ultimately, the script lacks the originality or the character development necessary to give its multiple couples their ideal sendoffs.

There’s so much joy in this telling, so much sophistication of craft on display, and such a delightful ode to this exemplary era of creativity, that it seems downright churlish to hold back for the sake of performative reticence.

Part caper, part spy movie, and part family drama, The Phoenician Scheme feels both like a return to form for Anderson while also feeling like an evolution for the auteur as his style changes bit by bit.

Die, My Love is further proof that no one is doing it like Lynne Ramsay, whose technique and style continue to evolve, as she draws out a career-best performance from Jennifer Lawrence in a must-see thriller spectacle that turns a single woman’s experience into a brutally honest psychological epic.

Far more thoughtful and provocative than your average action-adventure, The Old Woman With the Knife is a thrilling update to the genre, leaving us with a hole in our hearts as the credits roll.

Under the right circumstances, the story that The Trouble with Jessica tries to tell could work if it paired its comedy with a meaningful perspective on depression and self-harm. Instead, this misguided take on a dark comedy ultimately lacks laughs, thrills, and overall reverence for severe topics.

All held together by a transcendent performance from Imogen Poots, The Chronology of Water isn’t the strongest directorial debut, but it does hold glimpses of what Stewart is capable of.

With Joaquin Phoenix at the height of his abilities, Eddington is, if you look close enough, just as, if not more terrifying than anything Paimon or a Swedish cult could ever unleash.

The Sound of Falling may be one of the most grim films on the female experience you’ll ever see, but it never rises above this darkness to deliver anything illuminating about being a woman.

Bring Her Back captures the darkness and fear of losing someone, all while making one of the year’s best horror films. It’s that mixture, like with Talk to Me, that makes Danny and Michael Philippou two of the most exciting filmmakers in the genre.