The Gallerist is a disappointment, especially considering that Yan’s last movie as director was the vastly underrated DC film, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) from 2020, a hyper-stylized, playful, and unconventional take on the superhero genre. It would’ve been wonderful to see that version of Yan here, creating an unhinged look at the art world that was experimental, spirited, and daring in the way that film was.

With heartfelt and emotional performances by the cast, See You When I See You is a stirring tale about survivor's guilt, grief, and reconnecting in the wake of tragedy. Though the film hits on all emotional notes, there's one crucial setback that holds back an otherwise moving story.

The Shitheads is an enjoyable, dark take on the buddy-road comedy that could've maybe used a bit more finessing, but hopefully this isn't the last time we see Blair try this type of comedy.

I Want Your Sex proves that every generation needs its own Araki film.

By refusing to engage with messier material, Queen of Chess ends up being a rather straightforward, feel-good documentary, and that’s not necessarily a bad thing. Though it hits familiar biographical beats, Kennedy’s direction always keeps your attention and celebrates a remarkable woman whose amazing story deserves to be told.

The actors do well working in Manuel’s specific directing style — one that’s characterized by unhurried dialogue — it’s just that the style doesn’t always resonate, tamping some of its power instead of enhancing it. Filipiñana is a feast for the eyes, but you’ll likely still leave hungry due to the punishingly slow pacing.

With undertone, Tuason has created one of the few horror films that’s even more horrifying to hear than it is to see.

Gail Daughtry and the Celebrity Sex Pass is as unhinged as the name implies, and it’s exactly what we’d want from Wain and Marino. These two have proven that their brand of comedy hasn’t gotten old over the decades, and thank goodness they’re back making the most insane movie comedies out there.

Iron Lung is far from a perfect movie, and the pacing ultimately makes the conclusion feel exhausting rather than exhilarating or shocking. You'll be ready to leave once the credits roll. Yet, the craftsmanship is there; with his directorial debut, Fischbach shows that he's more than just a YouTuber, and he can conjure up the same kinds of scares that make him scream as he's playing games.

Alex Huston Fischer and Eleanor Wilson's romantic fantasy film is a delightful and silly tale that masquerades as a fable. Beneath the surface of its folklore-esque concept, Wicker is more an exploration of human connection, a criticism of the patriarchy, and a fun exploration of just how far one ridiculous concept can be taken.

In just under two hours, Apatow and Berkeley truly do their best to cover every facet of Bamford, and it is an impressive document of her greatness.

With bold narrative choices enhanced by immersive cinematography and confident direction anchored by powerful breakthrough performances, Molly Manners’ directorial debut is a compelling showcase of emerging talent.

It's another perfect excuse to shove popcorn in your face as you cheer watching Statham beat some people up.

The Invite might seem like a simple idea, but Wilde, as well as Jones, McCormack, and her excellent cast, make this into a compelling, delightful, and moving comedy that's more intricate than it might seem.

Buddy is a blood-soaked nightmare full of dark humor and surprisingly touching moments. Like its title character, Buddy isn’t just fluff, there’s something deeper inside.

Ahn’s feature debut is ultimately a beautiful, sensitive love story showcasing the healing power of unexpected human connection.

It ends up in an odd space between psychological thriller and straight-up jump-scare horror that unfortunately drags down an otherwise compelling film.

Unafraid to lean into Isla's naivete, Rankin's performance playing off both O'Rourke and Gleeson is what places her at the center of this tale and makes it worth watching.

It may not be the terrifying marvel some Raimi fans are hoping for, but it's still an entertaining enough watch that makes an SOS unnecessary.

It's a fun narrative, the action elements are well done and uncompromising, and the jokes work. Sure, the narrative could use a little shine in certain aspects, such as the conspiracy at the film's heart and the background of their newly deceased, estranged father, but as a whole, it's a stellar outing and a lot of fun, a blank check for a probable franchise.

It’s a tough watch, and it never presents easy answers, but there’s an undercurrent of hope that keeps it from ever being overly punishing and even a few moments of much-needed levity to balance out some of the bleakness.

A little more full-throated absurdity and humor would've been a great step for the film to take. Ultimately, The Moment is a delightful spotlight for Charli XCX as an actor, and the concept itself finds some playful ways to expand on the lore of of her massively successful album. "brat" is dead. Love live "brat."

If The History of Concrete proves anything, it’s that Wilson can make a movie about anything and make it absolutely brilliant.

Carousel definitely has some rough edges on the fringes of this romance story. But when Lambert gives us the quieter moments of Noah and Rebecca, or puts them together in a scene, it’s absolute magic.

The overall result is a wonderfully emotional and poignant documentary that is a must-watch for aspiring actors or anybody interested in the acting process who wants to see just how much it impacts somebody's personal life.

There are successful elements in the script, certainly, but there are also several frustrating moments that simply needed another draft to work the knots out. All that said, it's a successful foray into sci-fi territory thanks to a willingness to stretch the subgenre's established rules, making for a fun murder mystery that keeps audiences guessing.

With bad direction, terrible acting, and a world that has no weight behind it (especially since most of it was clearly made in a computer), this isn’t the way to bring Silent Hill 2 to the big screen. This powerful survival horror story has been turned into an ugly, laughable adaptation that proves that maybe we should’ve never gone back to Silent Hill.

All You Need Is Kill might not be as impactful as the Takeuchi / Obata manga, or Tom Cruise’s live-action update, but it does make some intriguing choices that will absolutely be worthwhile for fans of these other versions to check out.