Though there are shocking moments, it mostly plays things safe, refusing to fully embrace the intensity it occasionally flirts with.

Folktales' earnest, sensitive approach is its superpower, showcasing universal challenges being processed in a specific and singular way.

It's personal without being indulgent, it's unique without feeling incomprehensible, and it's full of heart and soul without being saccharine.

Freelance gives us a morbid pay-off to the lingering tension that riddles the entire film, while also harmonizing its seemingly separate themes of painstaking freelance work and human brutality.

Together is the type of joyfully demented horror film that was made to be seen in a theater with other people on the edge of their seats. Shanks has such a great handling of exactly what his movie needs at any given moment, and Brie and Franco have never been better.

There are a lot of fascinating ideas Green is throwing into Opus, and it's obvious that this is a fully realized concept that he's worked on for years; not only in the script, but in the extra work he's done in fleshing out this world. Still, we don't see enough of that work come across in the finished product, and the ideas here come off as muddled, failing to connect with the audience beyond a superficial level.

What the film lacks in these specific story aspects it makes up for with its enchanting style and captivating tale.

What starts as a promising storyline soon dwindles as tired tropes take center stage and no sparks fly between the main pair.

Unable to make his ideal documentary about the Zodiac Killer due to a rights issue, Shackleton breaks down the movie he might have made in painful detail that reveals a shocking lack of self-awareness, systematically dismantling the genre without an ounce of introspection.

The Wedding Banquet is a classic rom-com with modern touches that rarely ring false or feel heavyhanded. The entire ensemble is top-notch, allowing beloved actors like Gladstone and Yang to do something slightly different from their usual fare.

Peter Hujar’s Day’s thesis seems to be that it’s these normal days that add up to a life and there’s beauty and importance to be found in living, documenting, and reflecting on them for those willing to be patient. There’s a similar sentiment to be said of the film — it’s a rewarding one for those willing to sit with something slow and experimental.

Kiss of the Spider Woman is yet another decent adaptation, but even Condon's visual panache and scale can’t quite elevate this story to greatness.

It’s not only counterprogramming to the same formulaic true crime series that streaming platforms continue to churn out, but it’s also in direct dialog with these shows and the audience's unrelenting obsession with them.

Unfortunately, Dark Match never quite settles on what kind of horror movie it wants to be, and, too often, its overall tone doesn't play to the strengths of its premise.

Kramer plays with surreal department store catalog visuals and body-swap quirkiness, leaning heavily on interpretive dance to convey meaning. There's nothing like it, but with such extravagant boldness comes risks, and they don’t always pay off.

Chernov offers us a visceral look at what Ukrainian soldiers have been facing for the last decade.

Emilie Blichfeldt combines the classic grotesque horror often associated with Grimm fairytales and injects new life into it with her feminist message and new perspective. Coupled with strong performances — with special praise for lead Lea Myren — this horror flick is well worth a watch. Just maybe don't watch it after a meal!

Considering how electric Stone’s work and life are, SLY LIVES! more than makes up for its standard documentary style through Stone’s gripping story, and Questlove’s exploration of the revolutionary music.

Twinless is a masterfully crafted and thought-provoking dramedy that’s sure to leave you with much to grapple with. Beyond being thematically rich and carefully assembled, it’s also just a really good time.

Jimpa is a heartfelt tribute that unfortunately doesn't resonate as much as it should.

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.