Kotevska isn’t just telling a story of a farmer in a foreign land; she’s constructing a story that we can all relate to in our current world, in one of the finest documentaries you’ll see all year.

It's a colorful and delightful movie that delivers both thrills and heart. A fantastic follow-up to the original, Zootopia 2 swoops in right at the perfect time for the holidays as a perfect family movie to enjoy.

Riveting without ever feeling sensationalized and moving without being saccharine, Middletown is a captivating tale that combines elements of true crime and coming-of-age stories and proves, once again, that Moss and McBaine are two of the most talented documentarians working today.

There's nothing about The Family Plan 2 that particularly stands out aside from the European Christmas setting. Despite having a slightly different premise from the original, much of the film plays out like a sitcom. Yes, it's an improvement over the first movie, that's not saying much when your predecessor was already lackluster.

As Hallmark-esque as this Netflix rom-com might be, it offers the perfect combo for what you anticipate from a seasonal title. It delivers on a low-stakes love story between two people from different cultural backgrounds, allows for its main character to grow into her own and understand her worth, and gives viewers the opportunity to escape to Paris without leaving their couch.

Come See Me in the Good Light is a shattering, yet lovely documentary that’s easily one of the best of the year.

Wicked: For Good is not only a loyal adaptation, but it builds on what works from the first film while leaning into its lead performances. The characters are more mature and nuanced, making it a worthy successor to the first film. It doesn't surpass Wicked, but as a double feature, these two movies do justice to one of the best musicals ever, and that's not an easy feat to accomplish.

A Very Jonas Christmas Movie is utterly enjoyable, giving fans a handful of new tracks to set the tone for the end-of-year festivities.

Maslany can effectively react to shadows and reflections, and Perkins can navigate this cabin to maximize its horror potential, but without the screenplay to back them up, this just becomes a curious experiment without much focus.

You won't forget Alan Ritchson. If he can make crap entertaining, imagine him in a comedic role with a much better script

Trap House is a fun enough time worth watching, but it traps its star and doesn't let him out.

The movie is full of trees, lights, snow, and all the aesthetic trimmings of a Christmas movie, but there's a coziness behind all the seasonal artifice that radiates from the screen, and that, surely, can only be down to the right combination of people having a whale of a time together.

The direction that The Carpenter's Son is charting is the right one, as there are some moments of genuine intrigue, and it's not always clear if the titular character is going to fall into the path of the dark side or take on a more noble path. However, Cage's supporting role and the rest of the movie's more meandering moments and subplots, including a rushed ending, prevent it from being heralded as the enduring cult classic that a lot of Cage's other recent hits have become.

All of Wright's movies only get better and better on every rewatch, given the immense attention to detail, and revisits of The Running Man will undoubtedly garner more appreciation for a movie that's already one of the most crowd-pleasing pictures of the year.

Altogether, a lot works about Now You See Me: Now You Don't. It's a lot of fun, with a dangerous new foe and big, great-looking tricks. The new cast members are all stellar, have an engaging dynamic with the original team, and everyone gets a stand-out hero moment (a must for an ensemble this size). On the other hand, the script feels perpetually rushed.

It's flat characters on an unfinished stage, rehearsing a bad script, with no weight behind any of the odd choices and filming techniques. It wants to be a movie, but it doesn't know how. Just stay on your horse and ride past this one.

Miroirs No. 3 is enthralling from beginning to end, a smart, often heartbreaking story that thrives in its simplicity.

I Wish You All The Best is a triumph on everybody's part.

In Your Dreams deserves to be held up with the best of what other animation studios have done, and as one of the most visually stunning, funniest, and beautifully touching films of the year

Measures for a Funeral is brimming with style and painstakingly researched, but the fact Bohdanowicz seems to insist on showcasing every tiny detail she discovered at the sacrifice of making a leaner, more focused, and riveting story causes a dissonance that makes it feel dead on arrival.

Predator: Badlands might not be the shock to the system that Prey was, but it is continued proof that putting Predator in Trachtenberg's was one of the smartest moves this franchise has ever made. The writer and director continues to find brilliant, fascinating ways to explore and expand the Predator movies to an exhilarating level, making this series better than it ever has been.

It's a winner, with a surprisingly breezy pace for such a long action spectacle. Interested audiences should catch it on the largest screen they can.

From its narrative that blends so many ideas exquisitely, to the gratifying characters and narrative arcs, to the absolutely stunning animation style, Arco is quite possibly the best animated film of the year.

Train Dreams is without a doubt one of the most extraordinary films of this year, the type that will stick with you, deep in your mind and heart, long after the credits roll.

It may not necessarily reinvent the wheel as far as modern-day technological thrillers go, and only time will tell how the movie will age. But Influencers is still a slick and stylish sequel that exemplifies everything that made the first movie such a fun watch and then some.

After all these years, Left-Handed Girl is a terrific return to directing for Shih-Ching Tsou, who crafts a wonderful, often moving, and splendidly told story of three characters coming into their own.

For a studio renowned for the time and attention it gives both the technical and storytelling sides of its production, the finished product is remarkably uneven. Yes, it’s great that there’s a new Studio Ghibli movie, but that doesn’t mean that the new Studio Ghibli movie is great.

Little Amélie or the Character of Rain is, without a doubt, one of the best and most touching animated films to come out this year, a remarkable example of what this style of storytelling can do.