Twilight of Warriors is one of the best action films of 2024 and one of the best martial arts films in recent memory.

Liza: A Truly Terrific Absolutely True Story is a phenomenal documentary and jubilant tribute to one of the best!

The Last Showgirl is a grand moment for Coppola, which she does well, especially with Anderson and Curtis, who are fully committed to their characters and well-studied for their roles.

Sabbath Queen constantly finds ways to renew our interest throughout its 105 minutes and does so with great intelligence and respect.

Directors Jack Clark and Jim Weir deliver an unpredictable and eerie narrative that lingers long after. With its sharp character development and refusal to sanitize its dark themes, this Australian indie is an unsettling yet thrilling watch you won’t forget.

The Becomers may not have the largest budget, but it has the largest heart.

At 90 minutes or so, with the needless pseudo-artistic embellishments and tautology tossed out, Armand would have been an intense and cerebral little psychological nail-biter.

Too much thought has been put into this one to write it off as a mere, well, write-off. But it’s also too slap-dash to be labeled a classic, nowhere near on par with Peter Jackson’s original trilogy. A curiosity then, worth checking out, especially for the devoted.

So, just know that A Complete Unknown comes off as really boring throughout. None of this will stop Chalamet from shining out with the ultimate movie Dylan. It is a tousled hair masterwork of a performance, completely adapting the essence of Dylan to a folk music Batman.

Kraven The Hunter doesn’t entertain. The only thing it does right is release the hostages after two hours.

Nosferatu is a failure on almost every level.

In the end, if you’re going to tell a story we’ve all heard before, do something unique. Better Man is unique, indeed. The chimp gimmick never gets tiresome; in the end, it plays out beautifully.

Sometimes, the seemingly smallest fracture that separates the sublime from the maudlin is actually, well, a great divide.

Dear Lord, this movie didn’t need to be made. It is profoundly awful. The foreshadowing is relentless. Sorry, Barry Jenkins just can’t direct animation.

While a rock doc on the surface, Resynator showcases all the conflicting nuances of reality with higher clarity than previous documentaries. Here we see the real life we live in, where everything is both so cool and completely sucks at the same time. We also get to explore how a person’s conception of an absent parent affects the architecture of their self-identity. It is fascinating to see how, as different mysteries are solved, it affects Tavel.

Sit back and get ready to melt into your chair.

The intense and fascinating vision and lens through which Guan Hu observes everything makes Black Dog unforgettable and haunting long after watching.

Werewolves is the best werewolf movie since The Howling.

Here’s something you haven’t seen before, masquerading as something you have 1,000 times. It may be a one-trick pony, but it’s well worth the ride when the pony is this unhinged.

Wicked: Part 1 is an incredible adaptation that captures the core of what fans adore about the stage musical while offering its own cinematic flourishes. Despite a few pacing hiccups, Jon M. Chu’s direction and the cast’s passionate performances create a magical journey worth experiencing.

Amy Adams delivers the knockout punch that will leave you floored by just how close it hits to home.

It would be blasphemous to produce another “Neeson-as-old-but-badass-motherfuck*r flick” after this one.

While The Shade does a decent job examining grief and the complexities of a brotherly bond, it never digs too deeply, relying heavily on its central actor to reveal more depth than it contains.

For Reijn, nothing is off-limits. Reijn is already aware of the criticisms that will and have already been levied on this film, and she’s laughing with cinematic spunk and a robust authorial presence.

The Sylvester Stallone-produced film categorically lacks any surprises and frequently devolves into mushy melodrama. Still, as a family-friendly story of survival in the wilderness, it gets the job done… just.

This is a thoughtful, visually inventive film showcasing Zemeckis’ continued willingness to push cinematic boundaries.

There are plenty of grisly and fun murders, and the effects are stellar. The cast, led by a terrific Holloway and an over-the-top Combs, is genuinely fantastic.

The Room Next Door lacks the transgressive quality that initially endeared me to Almodóvar’s films, especially his early work. Perhaps it is a reflection of the director’s style and a renewed interest in the philosophy of death and dying as he gets older. While it’s still worth a watch, the movie leaves me wanting more, and not necessarily in a good way.