With all the talk of how wonderful Christmas pantomimes are in the script, the whole movie seems to shrink away from any tradition that may have made this pitiful excuse of a Santa sneeze enjoyable.

Little Trouble Girls succeeds as a combination of poetic visual compositions and vibrant, dynamic performances from the female leads.

Song Sung Blue is one of my favorite movies of the year. It all has to do with Hugh Jackman and Kate Hudson’s performances, along with a touching script by Craig Brewer and Greg Kohs. What makes this story so compelling is not only that it is true, but also that Mike Sardina and Claire Stengl are us. They are normal people who want to perform and bring happiness to the world.

Virginia Gilbert’s Reawakening ends on a brutal yet honest note, refusing to hand out easy answers or emotional closure. It’s not clean, but it’s meant to be an unflinching reality check.

The Summer Book is a wholesome meditation on the life cycle.

Ultimately, it’s fine. Yet, considering its cinematic history, fine is never good enough.

The film is described as “docufiction,” meant to present an authentic sketch of working-class Australian life. While we are not always seeing the real events, we are getting the concentrated essence.

Although Byrne always brings a great performance in whatever she’s cast in, I would almost say just go watch her in Platonic. There she, too, plays a mom who deals with the issues of being married and life’s trials and tribulations.

If you want to see the shark device used with the precision of a scalpel, watch Beast of War. It is knock-out entertainment with many rows of teeth that won’t let go.

Europe’s New Faces is a worthy exercise to pull back the curtain on the experience, but it should perhaps be edited down to 90 minutes or so and include some framing context so we know who and what we are seeing and why the migrants chose to make this trip.

The stark contrast between the way-too-confident-for-his-age Jake and the introverted, insecure Ben underscores how identity at that age calcifies in opposition: one boy armoring himself with swagger, the other shrinking under its weight.

The story of Happy Holidays starts out fragmented, so it’s a bit disorienting. But when the puzzle comes together, it clicks in a satisfying way.

If you don’t like musical theater, you’re not going to like Merrily We Roll Along. If you’re a musical theater fan, Merrily is a must-see.

Peaches Goes Bananas is one of the weirdest and most touching music documentaries I’ve seen.

The strength of Out of Plain Sight is that it dramatically illustrates both the importance and process of science and journalism, at a time when both are under attack.

You’ll never look at life—through a camera lens, that is—the same way again.

Roman Polanski’s J’Accuse, released internationally as An Officer and a Spy, is a brilliant exercise in controlled storytelling, visual discipline, and moral searching.

Esta Isla (This Island). is an excellent and absorbing drama. Its characters are well-written and behave in sensible and relatable ways. The cast excels at bringing authentic emotions and subtle details to the forefront, making everything as authentic as possible.

The Eyes of Ghana leans heavily into the inspirational part of the story, and that’s understandable. Hesse is an inspiring figure, still fighting to preserve his country’s culture, restore film, and teach the younger generation, even in his 90s. But the film goes a little too hard on this point by adding soaring music and minimizing some of the complexity.

It all feels good enough, which also feels disappointing at the same time.

The documentary feels like something that could have been deeply engrossing had the filmmaker selected an alternate narrative structure. He needed to deliver more than surface without substance.

Barron was the only light in my life,” a character yells at one point. “What am I now – just another dog in your army?” Barron’s Cove could have been a light in the current cinematic landscape, but instead, it’s just another dog in an army of duplicates.

Congrats to Jared Bush and the Walt Disney Animation team for an overall solid effort with Zootopia 2. I can’t wait to see what you have coming next.

Marty Supreme is a rare film that will become a watershed moment in cinematic history, in the same way that Taxi Driver and Pulp Fiction did. It will be spoken of in reverent tones in years to come, and will be endlessly studied and then copied by lesser filmmakers.

Dispenses with all the flourishes and focuses purely on the story and the characters, the gentle humor and the heartrending moments. It all leads up to a wonderful final scene, a knockout punch that cements MacLachlan as one of cinema’s indie greats.

Trier has created a masterwork, with layers of human drama and frailty (on a budget of less than $8M), soaring to the heights of unearned optimism only to crash into the inevitably of mortality.

Even if you don’t care for saddles and sagebrush much, you are going to want to cowboy up for this one. It is an acid flashback wearing spurs. If you go out of your way for that old-school cool adult animation, slide right on over to Slide. It is another example of why Bill Plympton will always be one of the greatest animators of all time.

Woo and Benson don’t underestimate their young audience’s intelligence, subtly layering in complexity, which comes off as a mini-miracle.

There is a great deal to admire here. The cast is the equal of that truly delightful dog, and the story feels everywhere and nowhere all at once as it flips from Dalia to Igor, at first having little in common, but gradually, as things progress, Igor’s satisfaction with the pace of rural life starts to impress itself upon Dalia, mending her resolve and ambition.

Chainsaw Man – The Movie: Reze Arc is a film that demands to be witnessed on the largest possible screen. Preferably at a movie theater. This is that rare cinematic bonbon that will sit in your mind palace long after you’ve watched it.

Tatsumi is a stellar work of genius on every level.

The film is a monumental achievement, rolling in like distant thunder and lightning seen through the treeline.

Unlike other productions, Del Toro finds the visual balance between creature and man. Elordi then runs with it, giving us the balance between a menace and a kind and thoughtful soul.

Nuremberg is a competently made, overlong, corny, entertaining, poignant epic made by the filmmaker responsible for writing classics like Zodiac and duds like Independence Day: Resurgence — a jumble of the man’s best and worst tendencies. Scattershot? Yes. Way too long? Sure. Predictable? Yes. Cheesy? Yes. Did I secretly kinda love it? No comment, your honor.

Even if the corporate claims are true—that films like Pistachio Wars are anti-corporate propaganda—it’s important never to turn a blind eye to any issue where the only thing we’re being told is, “trust us… nothing to see here.”

The film has good action set pieces, but without a story that has something to say or connects with audiences beyond the surface, it’s just another standard sci-fi action film.

This is an archival footage documentary that is essential viewing for anyone who is curious about the Phillips’s legacy, the Houston Oilers, and Houston culture in general of the 1970s.

What Daniel Roher has done with well-worn forms is to use them as setups, but put them together with a twist in a way that seems fresh and exciting.

Boasting impressive production values — especially given its budget limitations — it harks back to a more innocent era: a cozy, stylish, and mildly thrilling feature from a promising filmmaker.

The sequel is a shout-out to horror movies of the past.

It’s Plemons, who’s always stellar, that proves to be the real revelation.

Linklater was a visionary experimenter in his youth, but now he’s grown into a true master, one able to buck the orthodoxy, not just for its own sake, but to achieve something transcendent.

Rian Johnson’s Wake Up, Dead Man is more than a clever whodunnit. It’s a meditation on belief, guilt, and the stories we tell ourselves to stay righteous. What begins as a murder investigation becomes a battle between truth and faith.

Filho masterfully turns a tale of survival into a deeply human story about love, loyalty, and the cost of integrity under tyranny.

With these performances and Thom Mills’s confident direction, Luderdale plants its flag firmly in gangster movie territory. For fans of mob films, this is an instant classic. It’s stylish, gritty, and ends with a bang that will leave you face down in your pasta bowl, begging for more.

The Jester 2 delivers an interesting story with great visuals, great sound, and a fitting score

There’s something missing in this concoction: self-aware humor, a courage of its convictions, a driving force that propels the plot forward . . . Perhaps it was all just too steep a hill to climb.

Writer/director Schwab has crafted a piece that is beautiful, austere, and terrifying.

Strange Journey: The Story of Rocky Horror is an excellent love letter to one of the longest-running films in cinema history. Linus O’Brien honors his father’s work, and it is felt throughout the entire film. Watching this terrific documentary will make you want to do the Time Warp and enter the B-movie world of Dr. Frank-N-Furter all over again!

Inthralled is a truly vicious work of art in a brown paper wrapper, just watch your fingers once it is open, as it has bite.

Sunday Best reminds us that Ed Sullivan’s influence went far beyond introducing legendary performers—he directly influenced the cultural fabric of America. His legacy endures as a testament to the power of television to unite people and move society forward.

There really needs to be more stories told like Bob Trevino Likes It, about the good that people can do in the world for strangers. It’s heartwarming and eventually heartbreaking with where the story goes, but the purity that Leguizamo gives off is so strong that it’s a career-defining role (in a lifetime of memorable performances). Kudos to Tracie Laymon for bringing it all together to make a modern classic.

Every square inch of this picture is fascinating, whether for the fresh faces or those who have been fans of Cheech and Chong for years.

Audiences have grown so accustomed to nonstop thrills that the film does feel like a relic of sorts; they don’t make ’em like this anymore.

Brute 1976 is no X, but it is a solid if clichéd slasher. The cast is meh, with two exceptions, but the sheer amount of death and bloodshed provides a cathartic release. Then the ending happens, and the movie proves to have a shocking amount of staying power.

The most beautiful thing about EPiC: Elvis Presley in Concert is that in connecting us so intimately to the man and showing him in all his complexity, Luhrmann cuts through the baggage we bring and gives us a fresh look at one of the most fascinating and accomplished musicians who has ever lived.

All in all, The Conjuring: Last Rites is a well-made film. I might even call it the best Conjuring film since the original. It could pass as a great drama if you removed the jump scares and other horror tropes.

All in all, it’s an effective meditation on the show and the aftermath of it.

What works about Carolina Caroline is how it looks and feels.

What makes Swiped really stand out are the actors involved.

Novelist Cormac McCarthy explored the idea that violence can be regenerative and redemptive. In Sisu: Road to Revenge, Helander has painted that concept on the movie screen 20 feet tall, near death, and dripping with gore. By becoming inhumane, Aatami seeks to recover his humanity. Never before will you have felt so cleansed by such brutality.

Vice is Broke isn’t the ‘hit piece’ of its maker assets. It’s a valentine to the youth and the exuberance with which movements, literary or otherwise, ascend, make their mark, and then are heard from nevermore.

Two Prosecutors does not offer the audience easy answers or an emotional release; this restraint is exactly what gives it power. It’s a heavy film, one that is important and deserves to be seen.

Waltzing with Brando never gives Zane the opportunity to go deeper, which makes for a forgettable film and a lost opportunity for what could have been the role of a lifetime.

At its heart, The Senior is about forgiveness and second chances.

The personal and the political intertwine, until lines blur and dissipate. Anderson punches your gut while warming your heart, and he leaves enough room for you to draw your own conclusions. What remains inarguable is that One Battle After Another represents the pinnacle of the man’s astounding career.

This version of Hamlet is raw in its emotion, incredibly natural in its performances, and heartbreaking in its conclusion. Even after centuries of retellings, the story still cuts deep, and Aneil Karia’s version proves that its power has not diminished. At the center of it all is Riz Ahmed, whose incredibly raw performance ensures this adaptation will be remembered.

Yadang: The Snitch is a highly engaging and tightly constructed action-thriller.

Twinless delivers a sharp take on grief, deception, and unlikely connections. Characters are pushed into situations both painful and oddly tender. By the end, the film leaves you squirming but fully invested, proving that even the strangest setups can lead to an emotionally devastating payoff.

Forastera is methodical and observant, which are two of its greatest strengths. Iglesias is unhurried, allowing every scene to sit in the peaceful quiet before the storm of death shakes everything apart.

Veiel not only provides details of letters and images throughout Riefenstahl but also constructs a story of filmmaking through his own film. He conveys the emotion of “how could she” using selective footage and placement, timed interviews, behind-the-scenes actions, and subtle narration, allowing imagery to tell a story for the viewer to decide their side.

We’ve seen coming-of-age dramas many times over, so Pools is not revolutionary in that sense, but the blending of genres and the top-of-the-line young cast are what make this film special.

The film never feels preachy or overdone; instead, it embraces an authenticity that makes its emotional impact all the more lasting. It’s the kind of indie gem that resonates because it understands that the smallest moments often carry the most meaning.

By the end, you may not have all the answers, but you will have experienced something rare: a story that makes the absurd feel human and the strange feel strangely beautiful.

Monk In Pieces is a showstopper for the woman who stopped all of our preconceptions of what a show could be. It is achingly brilliant and needs to be stampeded to immediately in the direction of your choice.

Mothersbaugh himself acknowledges that the band’s curse has always been being ahead of its time, but it is fitting that we have finally arrived at a time when that is obvious. If you have not seen this legendary band play live yet, do so while you still have the chance, if you can. Whether you have or have not, see Devo as soon as possible.

Caught Stealing is a plodding meander that flagrantly overestimates its appeal.

This is pure cinematic meditation, requiring a surrender to its languid tempo and hallucinatory vibes.

In the end, The Roses feels like a genuine comedy comeback. Jay Roach proves he hasn’t lost his touch, pulling together a film that blends smart writing, impeccable timing, and powerhouse performances into something that may just be a classic new take on a rebooted story.

Yeo Siew Hua shows that surveillance isn’t only about control—it’s also about how we see ourselves through someone else’s eyes. In the end, the film leaves us unsettled with the idea that being watched doesn’t just change how we act, it changes who we become.

The cast is perfect in every way, and each actor brings the right amount of silly and serious to their respective role. This might not be quite as good as Kaufman’s beloved property, nor as brilliant as the stage musical, which remains the definitive distillation of Toxie’s antics. Still, it is a damned fun time at the movies with enough nods and references to please even the most diehard of Troma purists.

Less discerning kids may enjoy Robin and the Hoods… when they’re not deep into their PlayStations and Switches.

It’s sharksploitation at its finest.

With Gaudagnino’s signature framing styles and natural, lush settings, this movie warrants a re-watch to catch the full picture of a beautiful, ultimately tragic story of a family’s undoing through a woman’s search for herself.

What is clear in the overall message is that women worldwide have something to say about how they are being treated. Merlant makes this theme comedic yet scary. The film is fun-filled with great angles, set décor, acting, and timing.

The new Witchboard is ambitious and fun at times, an overcooked horror revival with a blending addiction allegory, foodie satire, and supernatural spectacle.

Saint Clare will sneak up on you as it did me. It’s a murder mystery with dark horrors and giggles blended delectably.

With this cast, the film should have been a knockout. Instead, it feels bogged down, heavy, and way too concerned with making statements instead of just being entertaining.

Highest 2 Lowest is brilliant filmmaking done as only Spike Lee can.

We all know about this war, but until you actually see it, it’s difficult to grasp. That’s why 2000 Meters to Andriivka is so important, people need to know what is going on.

The biggest downfall of Relay is the ending.

Kudos to Max for conjuring genuinely unsettling, Boschian images with a limited budget.

Red Sonja is classic high adventure that earns the gold in its pocket by spilling blood the way that only a woman can.

Those seeking visceral thrills may be somewhat underwhelmed by Descendent, but the filmmaker firmly establishes himself as a descendant of the Benson/Moorhead cinematic lineage.

Strange Harvest is a brutal, well-crafted descent into depravity that walks a tightrope between realism and horror fantasy. For fans of found footage, true crime, and occult horror, this is a grisly treat.

If you’re looking for an on-the-edge-of-your-seat thriller, this is it, but you also might find yourself very agitated if you’ve been in a similar situation.

By embedding the story in a Latin American folk tradition and examining colonial Christian missionary practices, the filmmakers offer more than just scares; they ask questions about cultural supremacy, belief, and the cost of spiritual conquest.

Sketch isn’t the greatest movie ever made, but it’s great at being a touching and thoughtful story of young kids and preteens.