It is one worth putting on your radar even as it magnificently goes all over the map into the cosmos the longer you get lost in it.

The Persian Version isn't quite the quirky family comedy the trailers make it out to be. It's funny, but it's also raw. It's emotional and heartwarming in its truths. It will also leave you wanting to call your mother.

You can tell that everybody on the set of Old Dads was having an absolute blast making this movie. It's just a shame that the end product feels so directionless and bland. The attempts to be offensive fail, the emotional beats are never effective, and despite a handful of good laughs and amusing cameos, it's never that funny.

In the end, Taylor Swift: The Eras Tour isn’t just a demonstration of this mammoth undertaking, it’s also an undeniable proclamation that Swift is one of the most impressive musicians of the 21st century.

Instead of a flowing narrative, it’s a series of scenes, the worst and best parts of their 13-year relationship, and doesn’t come together well enough to feel like a complete story. This combined with the lack of Coppola’s vibrant, feminine, and electric aesthetic makes Priscilla a major disappointment from a true cinematic visionary who's capable of better.

Jeymes Samuel is a master of all trades who can craft character-driven arcs with fun action-packed sequences all against a beautiful score. No actor misses a beat and it confirms LaKeith Stanfield remains not just a brilliant actor but a true movie star.

This review isn’t to say Winner is a “good or bad” person or that her actions were “good or bad.” This review is to say that the movie about Winner and her case is bad.c

Maestro is a refreshing subversion of the classic biopic.

When creative directors are given the chance to take big swings and actually do so, the result can bring about nightmarish experiences unlike anything out there. The glimpses of this in V/H/S/85 serve as a reminder of the value of the series and the visions it can ultimately provide a home for.

All the emotional beats from start to finish are just completely unearned — it's as if every foundational aspect of a good horror story has been washed away, too.

Carmoon establishes a plot that could have been great, but becomes too caught up in the visuals of it all, and the script pays the price.

From the directing to the script to the acting, All of Us Strangers is a film that will stay with you long after you watch it.

While Comer makes a committed effort to carry the film, it falls flat in its excessive filler, undeveloped characters, and symphony of bonkers accents.

If The Killer teaches us anything, it’s that any director, no matter how legendary they are, can fall victim to a bad script. While Fincher’s iconic style permeates the two-hour runtime, the hollow plot and uninspired writing are impossible to ignore.

While it never fully succeeds, Khan understands that strange in-between place that ‘80s films exist in and mimics that energy well, even if the script doesn’t quite keep up.

It’s a long, hard ninety minutes, even with someone as charming as Farrier leading the charge, but that ultimately feels like the point — that minutes turn to hours with Michael Organ.

Fennell’s direction outdoes her writing here, and the cinematography from Linus Sandgren is exquisite (no surprise).

For all the promising threads it pulls on surrounding a variety of faith traditions, The Exorcist: Believer doesn't earn your belief or your fear. Where Friedkin's classic will endure forever, this superficial sequel remains stuck in the past. It may try to speak all the same verses, but it doesn't add new life to any of them.

Thurman’s scenes only get better when she’s paired with Jackson. The duo handles their dialogue like a walk in the park, and you can tell that The Kill Room tries to make the most of it.

It’s a shame that such a solid set of performances are brought down by an underlying thread of jingoism, one that’s hard to put too fine a point on until the film’s final scene. The final shot of the film is a punch to the throat, a distinct flourish on Friedkin’s part that I absolutely adored, but its origins leave me feeling more than slightly queasy.

Is it a bit baggy and less amusingly chaotic than past entries? Absolutely. However, Bell's return as this character is still grimly fun when he's given room to let loose. Even as time isn't always on his side, he makes the most of nearly every moment.

The Wonderful Story of Henry Sugar feels like a project Anderson needed, a way to explore smaller storytelling in a manner that still allows him room to experiment, have fun, and utilize his very specific voice and talents.

The script might have glaring flaws and painfully ambiguous morals, but The Creator is a truly remarkable piece of original science fiction storytelling. Even when it borrows from ideas established in films that preceded it, Edwards manages to make it feel fresh and new. The Creator is a beautifully crafted, albeit imperfect, science-fiction thriller that tries to unravel what it means to be a good human in a bad world.

It’s funny, bizarre, uncomfortable, and an absolute cringe-fest for all the best reasons.

For horror fans who prefer a more subtle and nuanced brand of horror that verges on the very outskirts of psychological horror, the lo-fi grunginess of Falling Stars will certainly appeal to them, though the outcome may leave them with more questions than answers.

As far as feature debuts go, Purev-Ochir delivers a solid offering, one that showcases her strengths and leans into the soul of her original short, elaborating on an intriguing concept to impressive results.

Mountains is the kind of movie that reminds us why we love to sit in the dark and peek at other people’s lives. It’s a three-way character study that teaches us about life, parenthood, marriage, and expectations without ever feeling preachy, boring, or flimsy.

She Is Conann is not for the faint of heart, weak of stomach, or morally pious. It plays upon the most provocative ideas imaginable—pushing the boundaries of not only sexuality, gender, and self-image, but societal norms too.