What saves this movie is Taylor-Joy and Teller. Though their in-person scenes aren't nearly as endearing as their scenes with each other across the gorge, the two do have great chemistry. They're interesting to watch together, especially during their action scenes.

Soundtrack to a Coup d'Etat is a film essential to understanding the world.

Paddington in Peru might not be at the same level as the first two films, but it’s still absolutely a worthwhile adventure. We’re still getting all the characters and ideas that we love, just packaged in a different way than we’re expecting. If anything, Paddington in Peru proves just how malleable this character is, and how well he can work in either quiet, simple stories or grand adventures.

We feel very much like we are in the thick of it when watching, as if we're in the room as the story develops.

Suffice it to say, Captain America: Brave New World is not the 2025 start that Marvel fans may be hoping for, with more pressure now being put on Thunderbolts* and The Fantastic Four: First Steps. If anything, the film has more in common with Sony's disastrous attempts to make its own Marvel movies than it does with the prior entries that turned the MCU into what it is today.

Mad About the Boy is the disappointing end to a franchise that should have never gone beyond its first sequel.

It's a well-balanced animated actioner that captures everything fans already love about Geralt of Rivia while exploring the complicated politics of monster hunting.

While the plight of Ukraine is undeniably horrific, Mr. Nobody Against Putin shows a very real cost and the damaging ripple effect this invasion will have on Russian civilians.

Each subject is so rich and nuanced that any single one of them could carry the documentary as its sole focus.

On the one hand, Seeds provides a unique glimpse into one family’s joys and struggles, while on the other it delves delicately yet effectively into larger questions of policy, politics, the scars of the past, and the challenges of the present.

It's a heartbreaking on-the-ground look at the human cost of the Israeli government's settlement policy that must be seen.

Unfortunately, Love Hurts never does its stars justice as a lazily slapped-together action-comedy with a script that feels like it never had a second draft.

Renner lands as a forgettable and tedious watch, made worthwhile only by surprisingly dynamic performances from the small ensemble cast.

Distancing itself from clichés in the name of honesty and earnestness, the charming British dramedy showcases the whole gamut of human relationships but takes tender care to highlight the good. The performances are delightfully honest, its cinematography is visually stunning and immersive, and the tale it tells is one of forgiveness and letting go – one that highlights the power of being gentle to one another.

Luz is an ambitious film but one that overreaches a little and becomes jumbled as a result, but it shows promise for filmmaker Flora Lau.

Dark Nuns doesn't reinvent the wheel. If you're seeking out an exorcism film that's going to shock you and be vastly different from what you've seen before, you're going to be disappointed. But what Dark Nuns does have are two central characters of the like that we don't often see.

Director Chloé Robichaud's fourth feature film is a fun and sexy romp that discusses infidelity, marriage, and being a mother in our modern age.

Tyler Spindel's latest directorial effort might falter when it comes to its approach to physical comedy, but it still deserves some appreciation for what it does well: make you laugh and feel.

By the end of Not Alone Anymore, it's clear that Matlin is far from a star who burned too bright once, and her light has not dimmed at all. If anything, she's been working steadily and surely and despite the years of solitude, thanks to her creating the path forward, she is not alone anymore and won't ever be again.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.

Unfortunately, Bubble & Squeak far more often embraces the ridiculous more than the realistic, and ultimately struggles to combine these two into a whole that works.

Holder's wayward romantic indie chases meaning through quiet reflections that navigate hardship somewhat cleanly. While it's a delightful representation of Brooklyn's playground, scenes flow through motions like a wandering observer.

Sorry, Baby is a fantastic debut that has announced Victor as one of today's most exciting up-and-coming filmmakers.

It's hard to find any redeeming qualities in Last Days. Its pacing and multiple storylines, not to mention jumping back and forth in time, only work to make the viewer disoriented when it comes to bonding with a character who already does not feel that sympathetic.

Brides is an original and bold coming-of-age story that features two star-making performances from its young talent.

While parts of it are laudable, unfortunately, Emmi’s film feels underbaked, never truly elevating its story to generate the kind of deeper effect that similar thrillers have managed to elicit.

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.

The film memorializes André and keeps him from being forgotten — something he mentions multiple times throughout the film. Yet it also helps André come to terms with everything.