Don’t Let’s Go to the Dogs Tonight is a fascinating indie flick with enough pull to find its audience. Davidtz does well enough with her first feature, and the story, along with Venter’s incredible performance, is more than enough to pique the audience’s interest enough to perhaps pick up the memoir.

Ty Roberts’ inspirational sports drama You Gotta Believe relies on age-old playbooks to a fault. It’s a true story and a surefire tear-jerker, but Lane Garrison’s screenplay is reductively hokey at the worst times.

The film does so little work to make me care about the girl that came before Rosemary that I simply found myself wondering how she was going to die to properly set up the events of the original.

As a film that thrives on its leads’ undeniable chemistry, Wolfs draws most of its strength from Clooney and Pitt’s effortless interplay, despite its narrative shortcomings. But for fans of light-hearted action comedies, Wolfs is a howling good time — even if it doesn’t quite sink its teeth in for a lasting bite.

Boong is a rich coming-of-age tale that touches on important issues without ever losing its playful tone or big heart.

In the end, Chapman’s film serves as a portrait of a family rendered in three dimensions, capturing both the strength and human frailties of these individuals in a detailed fashion.

The finale could use a little honing (greater context, a little more clarity, some tighter thematic context and background information), but it's still full of enough twists, tension, and surprises to have a solid time at the theater that audiences will be thinking about afterward.

This is the story of one who stood up, with all his faults and flaws, one whose ideology you may not agree with, but whose capacity to show justifiable rage speaks for those too cowardly to act. It’s here that Pink’s film derives its most impressive impact, and while few may mourn for The Last Republican as both the nation and the world race toward a chaotic, uncertain future, the end result is easily one of the best docs of the year.

The end result is a highly entertaining, highly provocative film that brings the best of a revenge thriller with a boost of a bit of deeper cultural expression.

Queer might not be everyone's vibe, especially when it gets wild in the final third, but there's something in the way that Guadagnino brings all these elements together and crafts his own story out of Burroughs' novel that continues his growth as an essential filmmaker of today.

The story navigates the fine line between community pride and nationalistic zeal, providing lessons for a future while admitting to the existential futility of it all. We can shift our perspective, but every time we do, things stay pretty much the same.

Despite its occasional flaws, The Brutalist is one of the most remarkable films of the year, and proof that Corbet is a fascinating filmmaker to keep an eye on.

With energetic dance sequences and a heartwarming bond between a father and a son, K-Pops! is a bundle of joy that rarely misses a beat.

With bold performances, a strong vision for the source material, and a wise decision to focus on this under-represented portion of this narrative, The Return makes for an effective character piece that proves these stories are not only timeless, they’re as timely as ever.

When the Light Breaks recognizes there is somewhat of a delicate yet feral nature that humans exude while in the throes of anguish. Gone is the poise and self-control we put on with our clothes for the world each day, and out emerge some of the most animalistic qualities we regularly stifle.

The film is indeed reminiscent of other satirical comedy horror flicks of times past, but it still has its own unique soul. And thank goodness it exists in our realm!

With clever lyrics, punchy tunes, and a committed cast, this is another jewel in the crown of Australian musical films, a worthy watch even for those cynical about such unabashed flights of tuneful fancy.

Heretic is a clever twist on the religious horror genre, bolstered by three strong performances, particularly Grant’s gregarious yet haunting Mr. Reed.

Friendship truly has all the makings of a future comedy classic.

Even with striking visuals that offer compelling depth and beauty to Minahan’s overall look, the film’s inability to keep a consistent pace and tone, or even establish its primary focus through its leads undercuts its biggest, most poignant messages.

The main reason why The Penguin Lessons is sweet, but also poignant, is due to the script's keen eye for comedy in the face of a tumultuous backdrop.

Featuring sidesplitting performances from its stacked cast and some gnarly, shocking twists, Dito Montiel's Riff Raff is as fun as it is jaw-dropping, and will keep you entranced (and at times mildly disturbed), for its entire wacky runtime.

Emilia Pérez boasts a remarkable trifecta of performances, but Jacques Audiard's ambitious project tries to do a bit too much.

Saturday Night is a loving celebration of SNL that captures the spirit of trying to put on a live comedy show every week.

Sarah Paulson breathes life into a so-so script, but the film's slow pace and lack of strong horror hold it back.

Though powered by incredible performances and worldbuilding, what truly leads The Assessment to have an exceptional final product is its refreshingly original premise. The script, written by John Donelly, Nell Garfath Cox, and Dave Thomas, takes full advantage of the sci-fi genre to tap into relevant topics such as climate change, parenthood, and elitism.

While All of You features powerhouse performances from Brett Goldstein and Imogen Poots and some sharp, witty writing from Bridges and Goldstein himself, the film aims high but lacks clear stakes, making this love story difficult to invest in, with underwhelming sci-fi further muddling the heartrending, but ultimately unfulfilling romance.

It’s a film that’s serious about play, and humble about the need for joy. Piece by Piece is, quite simply, bricktacularly brilliant.