Linklater reminds us that he's still able to make two people simply sitting around and talking fascinating. After all these years, the pair of Hawke and Linklater remains a winning combination.

The Smashing Machine boasts strong performance, but the film hits fairly generic story beats.

What Last Rites gets most correct is its family dynamics, hearkening back to the first film's initial moments and providing a strong thread throughout the series. Farmiga, Wilson, and new and returning characters all pull this off brilliantly.

Strassner and Larsen are an absolute delight to watch, and this is the kind of movie that indie cinema is all about.

The Long Walk exceeds even optimistic expectations to easily become one of the best Stephen King adaptations.

Caught Stealing, on the surface, doesn’t look like what we expect from an Aronofsky film, and yet, once you dive deeper, it seems like the most obvious version of a dramedy crime-thriller that the director could make. The film isn’t afraid to get its hands dirty and go to some truly dark places, yet it always manages to come back to a place where this story becomes entertaining again.

It’s a totally pointless pursuit that has no interest in interrogating why A Serbian Film came into existence, only how. An 80-minute behind-the-scenes promotional featurette for a film that, even after an entire documentary devoted to defending its existence, still feels completely meaningless.

As it stands, The Roses has its charms, but it could’ve used a few more thorns.

The Thursday Murder Club is a delightfully charming movie that hits all the highs of the cozy murder mystery genre without any of the negatives.

Trust does a great job of showing what Turner is capable of. The problem is everything around her. Pardon the pun, but it takes an interesting premise and doesn't trust itself to craft a compelling story with interesting characters around it.

Relay is a tense, edge-of-your-seat ride that reminds you that they do still make them like they used to, it’s just, unfortunately, not nearly as common anymore.

Ne Zha II is a bold, action-packed, interesting celebration of Chinese legend, wrapped around the story of a growing boy who wants to determine his future. The new English dub translates these characters well to the screen, and its visuals are beautiful companions to the large-scale story.

Madelyn Cline and KJ Apa engage in a summer romance that neither makes your swoon nor sob.

The fifth installment of a beloved modern horror franchise proves that it's losing steam.

Americana is an interesting modern take on the Western, with a standout performance by Halsey.

It's a relentless ghost train of a movie that blinds you with its color, deafens you with its chaos, and pushes you to hysterics with its overabundance of silly, splatter-filled action.

If you're a moviegoer who desires smart, original horror, skip Witchboard. You're better off just watching Sinners or Weapons again.

It is just as chaotic, caught between peril and hope, as our reality. The ugliness and the potential of humanity are rarely this captivating.

By the film's end, both the film and its titular protagonist become honed, complex, and much-improved. It's an inconsistent sword-and-sandal epic, but one that lands some major notes as the sequences and combat get bigger, bolder, and feature better grounded performances.

So while the familiarity is felt throughout, it's hard not to cheer, chuckle, and cringe at all the chaotic mayhem that unfolds in Nobody 2. It's not trying to be anything other than an ultra-violent late summer action flick, and if you go in expecting to watch some gnarly kills, brutal fist-fights, and gun-fu, you'd have to think pretty hard to feel disappointed.

Fixed has the stylish hand-drawn animation that Genndy Tartakovsky is so well-known for, but the juvenile humor feels beneath a filmmaker of his stature.

Berg’s documentary is at its strongest when it focuses on the musical legacy that Buckley was so concerned about that he would leave behind, and less so when it tries to delve deeper into who Buckley was as a person.

An eerie, well-acted stroll along the well-trodden path of pregnancy horror.

Cregger shows with Weapons how perfectly he can balance horror and comedy in equal measure, always walking the line between these two in a film that is both unsettling and deeply funny. Because of this, Cregger has made what might end up becoming the best horror film of 2025.

A scathing documentary about the price of fame and honest artistry.

Boys Go to Jupiter is the type of animated feature we need more of: experimental, unusual, yet fun and familiar.

Everyone you'd hoped to see is here, the chemistry between Lohan and Curtis is still spot on, and the new additions to the ensemble don't detract from the narrative that won us over two decades ago.

Eddie Murphy's The Pickup is a dull and lifeless action-comedy that provides neither laughs nor thrills.