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.