The combination of Byrne's haunting, brilliant performance, and Mary Bronstein's unrelenting handling of tone here makes If I Had Legs, I'd Kick You one of the first must-watch films of 2025.

The movie hangs on the nuances of Cantor's performance, but it never seems to come together.

It's a nice slice-of-life character-driven film, which is always great to see, but there is very little drama or conflict to keep the viewer invested past the colorful animation.

Midas Man may not go on to become as influential as the individuals it has as its subjects, but it's still a decent enough crowd-pleaser that is safe, entertaining, and just the right amount of twisty and shouty.

Some elements and moments are effective, but they're layered with subplot details, character performances, and related choices that don't work as well as intended, firmly grounding an otherwise promising concept.

While the unique shooting style and the talents of Dynevor and Ifans should have set the film up for success, the underdeveloped characters and underwhelming twists render Inheritance a tedious watch rather than a gripping espionage action flick.

While it's always a pleasure to see Yeoh kick butt and take names among the stars, Section 31 wastes her talents as well as its own premise on a middling heist movie devoid of anything that might actually identify it as a Star Trek movie.

Apart from the impeccable cast, what’s most impressive about Companion is its balance of so many differing moving parts. It’s a genuinely funny comedy, a suspenseful thriller, and has some pretty gnarly gore scenes to boot.

The film does show that Gomes is capable of making an authentic period piece and a stunning documentary, but the attempt of trying to do both at the same time has led to an unusual experiment that will leave one scratching their head.

With beautiful visuals, an interesting plot, and a middle that some might even say makes up for its beginning and ending, Grafted is worth watching and Sasha Rainbow is a horror filmmaker to keep an eye on.

The truth is that by the film's final moments, the audience will likely leave their viewing experience with a headache and a bitter aftertaste from all the melodrama.

Unfortunately, We Kill Them All doesn't know how to escalate its story beyond its initial premise, fumbling to make this concept work once it has been laid out. While the movie seems to that that less is more, the weaknesses of the film prove that isn't the case with this film.

The predictable story would be forgivable if Bad Shabbos' execution of this darkly comedic crime caper had a truly excellent execution.

This wonderfully personal story is filled to the brim with a seemingly endless reservoir of laughs and tears. It's an experience that won't just have you liking Bob Trevino Likes It, it will have you loving it.

A fun, high-octane action movie about a chase against time through a fascinating city.

The emotional core of the story relies strongly on the performances of Cholbi, Falé, and Gueneau, who turn in wonderful performances that don't need loud outbursts or explosive arguments.

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.

Alarum is a genuine disappointment, putting a set of strong performers (who do quite well in action-heavy projects) in a situation that could produce memorable, excellent action scenes. It needs extra shine in the script and a stronger directorial vision to do so, which essentially damns the film to action thriller purgatory.

One of Them Days might not necessarily be a great comedy, but it’s absolutely the type of comedy we should see more of in theaters nowadays. Palmer and SZA are a delight, and Lamont and Singleton’s work elevates what could be just a silly comedy into something more.

Most people are likely clicking on this film for Foxx and Diaz, and they, too, do their best with what they’re given, but the dull, exposition-heavy script never gives them the chance to flex any of their dramatic muscles, and they rarely get to be truly funny either.

Offering a fresh take on a legendary folk hero, William Tell’s solid cast and engaging battle sequences will keep viewers hooked. Easy to overlook its faults with impressive sequences, performances and sharp cinematography, the film is an appreciated one for its throwback feel.

To its credit, there are some decent gore scenes, and the practical makeup is done well, but not enough to distract from some pretty laughable special effects. Compared to the original and even the 2010 version that won the Oscar for Best Makeup, Whannell’s version isn’t breaking any new ground.

There's certainly good here, but it's hard not to wish certain key moments were allowed to thrive.

The idea is good, but in practice The Prosecutor doesn't fully feel like a legal drama, nor does it feel like a martial arts film. It's a decent film with strong direction, but laden with regrettable missed opportunities.

Gudegast's film feels almost artificially programmed in its adherence to criminal caper tropes, unable to steal our hearts with the bromantic charms of cops and robbers with boundary issues.

It sits in your chest like a cough you can’t get rid of, and there’s promise in its bones of what might come next for the Aussie directorial duo.

The easy winner out of Armand is Renate Reinsve. . . The runner-up is Halfdan Ullmann Tøndel. While his methods for bringing this story to life are a bit overly perplexing and too head-scratching, there is a clear talent for filmmaking on display here that makes his career one to watch with great and serious interest.

From Ground Zero is important because it puts the spotlight on an issue far more important than making movies.