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.

It's clearly intended to be a companion to and showcase of the simultaneously released album instead of a fleshed-out, standalone film. Regrettably, it never lets the audience forget that fact, feeling far more like a long music video than a feature film.

To anyone interested in the history of film, Champagne includes the earliest known examples of freeze-frame techniques, highlighting how innovative Hitchcock was.

The Final Reckoning is stuffed, convoluted, and ludicrous at times. But it’s also mostly a great send-off to this universe, a deserved celebration for everything this series has accomplished, and one final (again, seemingly) showcase for Cruise as one of the greatest action stars of all time.

If you don’t like horror movies, then don’t go see this movie. This isn’t for you! This is for the Final Destination fans who’ve waited patiently for over a decade. It’s also for those who enjoy a ride of a movie that will raise and drop your heart rate multiple times over an hour and 47 minutes. With horror franchises constantly coming back from the dead, Bloodlines is one of the freshest we’ve seen in a while. It’s the perfect blend of going back to basics and cooking up something new, drenched in blood and snapping bones.

Juliet & Romeo isn’t necessarily a good film, but it is a very fun film, and there are far too few films that seem content in simply entertaining for the sake of entertainment.

Where Wick Is Pain takes things a step further is with a deep dive into the difficulties of making a movie in general, not just a big flashy neon-laced action flick.

Lilly becomes a chiseled-down Wikipedia summary version of a life, dipping in here and there to show you the big moments, but in the process, characterization and emotion are stripped away.

Its talented cast and tender heart do a lot of the heavy lifting, but it's the kind of movie the mothers in your family will absolutely love.

Eubank's direction has a tenderness for its characters and for the little worlds they build around themselves, bursting full of hopes and dreams that we really want to see them achieve.

Chaos ensues, dozens of better movies are ripped off, and despite a few fun kills, it leaves you feeling not very much of anything.

It may not reinvent the wheel for tightly-knit actioners, but Fight or Flight still sticks the landing for a crowd-pleasing and chaotic thrill ride.

Words of War may not be a film that does anything stylistically or creatively to reinvent the wheel, but it has a message that transcends the bounds of art.

Its masterful blend of action and emotion through tightly nuanced writing and performances elevates the film to stand out as one of the most endearing films of 2024.

It is about as standard a Western as you can imagine, one that hits all the narrative beats and clichés expected of the genre, but the technical quality of it is undeniable, bolstered by gorgeous cinematography, strong performances, and a really impressive turn from its child star, Patrick Scott McDermott.

It's a cluttered mess of a movie that should have scaled back, stuck to the basics, and delivered what we were all hoping for: over-the-top ratty carnage.

Although Off the Record is well-intentioned, it misses more beats than not.

If you haven't seen many demon possession movies, or on the opposite spectrum, if you can't get enough of them, Rosario is a decent 90-minute watch. It's not awful, it's not going to insult you, but it's a retread of better movies with every predictable plot point you can imagine.

Even though the film does at times feel like it's setting up for future projects, it never feels burdened by this, but rather, like we're seeing the natural progression of where these characters' stories should lead. Thunderbolts* is a pleasant surprise in the MCU; it only took a team-up of Marvel’s unlikeliest superheroes to bring it out in them.

With everybody understanding the assignment, Bears on a Ship is truly one of those movies you can relax and have fun with.

Jack Quaid and Jeffrey Dean Morgan give heartbreaking and sometimes hilarious performances as two men who need to prove to themselves and everyone around them that they can save the day.