Featuring absolutely staggering visuals, Dune: Part Two is an arresting, transportive middle entry in Denis Villeneuve’s tricky sci-fi saga.

Richard Linklater’s animated Apollo fantasy is scattered, but sweet.

Subtle and intuitive, this documentary about NYC psychics asks all the right questions.

Few filmmakers are as playfully cynical as the Coens, and in The Ballad of Buster Scruggs they haven’t just made a funny, sentimental, exciting and blistering western, they’ve also unlocked their entire filmography for anyone who may have missed the connections before. And there’s no going back now. It’s the Coen Bros.’ world, and good luck to anyone who lives there.

The First Slam Dunk delivers a high-octane thrilling sports anime film with mind-blowing animation that serves as a great conclusion and introduction to a classic '90s anime.

Selma pierces a Civil Rights milestone with honesty, avoiding damning accusations or easy schmaltz to reflect true human triumph. With expansive shots of protests in motion and intimate, shadowy close-ups of King locked in jail, DuVernay's direction brings to life what many only know in black-and-white snapshots.

It’s hard to overstate how immaculately crafted Furiosa: A Mad Max Saga is, both as a prequel to Max Max: Fury Road and as a stand-alone story of how the Wasteland created a powerful character.

With a nuanced script, standout performances, and the adrenaline of a well-executed heist, Hustlers is an entertaining ride with something meaningful to say about power and control.

With a simple but effective script and some fun visual experiments, it's an entertaining conspiracy thriller set in (and very much about) the post-pandemic world.

I don't want to make the film sound overly heavy by pushing the art side of it; it can be appreciated on so many levels, by children, stoned hippies, or Andy Warhol fans.

Official Competition is a sharp black comedy that skewers grandiose wealth, egocentric artists, and how quickly art is swallowed by money and celebrity.

Sofia Coppola proves to be the perfect choice to tackle the life of Priscilla Presley through a film that deeply understands the desires and dreams of a teenage girl

The pace of this gorgeously shot Norwegian pseudo-fable will be a roadblock for some, but give Vogt a chance. Storytelling rewards are bountiful once The Innocents executes its conflicts well above the expected maturities of players on screen.

It's that rare movie that I will not only continue to enjoy as a moviegoer and all-around romantic, but recommend as a legitimate standard-bearer for the animated classics yet to come.

Speak No Evil is a worthwhile test of wills that’s sure to dampen anyone’s day with a superbly excruciating tale of monsters in civilian clothing.

A Different Man is a twisted, sometimes grueling, frequently darkly funny ride with standout performances from Sebastian Stan and Adam Pearson.

While it’s hard not to be moved by footage of Robert Downey’s final days, the film is more informative than emotional. It contains hints of an intimate story, but mostly flattens a strange and exotic career into a series of light observations.

Top Gun: Maverick is an out-of-bounds blast of afterburner fumes and thrillseeker highs that's sure to please audiences looking for a classic summer blockbuster.

Oddity is an elegantly constructed tale of supernatural revenge that’s full of spine-tingling atmosphere.

Where its successors might interpret or imitate its achievement of making a movie set in a confined space, Hitchcock evokes more important questions - many of them without answers - from his cross-section of characters, and creates an impressive and remarkably prescient perspective on our relationship with the world around us.

Alex Garland and Ray Mendoza’s Warfare is incredibly effective at putting you into the middle of combat, evoking feelings of dread and terror usually reserved for the darkest horror movies.

Another example of the explosive imagination that Miyazaki has. The world of the movie looks to use early 20th Century technology, yet it's filled with these giant airships and flying cities. There's a giant, yet lovable, robot that instantly becomes one of the most memorable characters in the film. Combine all of that with an excellent and memorable Joe Hisaishi score, and you have a jewel of animation.

Dìdi is a chaotic crowd-pleaser that effectively represents the messy process of finding oneself in the midst of adolescence.

With melancholy performances and an eye for natural beauty, Kogonada’s second feature film draws from masters of the past to create a glowing and moving future.

It Comes at Night is emotional, haunting dystopian horror that will leave you shaken.

Predator: Killer of Killers definitely delivers on its premise. Its journey through several time periods is the perfect way to give us multiple Predator stories that each have their own distinct flavor and action highlights.

John Wick: Chapter 4’s incredibly staged set pieces, engaging ensemble, and stylish production design coalesce into a modern action masterclass.

The Humans is a thoughtful and brilliantly acted meditation on family and humanity.

Ultimately, this storied provocateur deals out shocking imagery and disturbing scenes, but he refuses to lay down a thrilling climax much less anything satisfyingly entertaining.

If you enjoy good horror or vampire flicks, Near Dark is one of the best.

The Summit of the Gods is a standout tale in both story and animation technique.

The film's brilliant pacing and expertly woven narrative deliver an empowering story that will stick with you long after the credits roll.

Avengers: Endgame is easily the Marvel Cinematic Universe’s most ambitious, emotional, and affecting film to date, somehow managing to tie up more than a decade of storytelling in a confident (and mostly coherent) climax - a hurdle that many other blockbuster franchises have stumbled over in their final runs.

This is an amazing film, both for what it did in 1953 and what it still does today. It's a far better interpretation of H.G. Wells' novel than Spielberg's abrupt and lopsided film.

Part guerrilla prank saga, part heartwarming friendship story, and part riff on Back to the Future, the result is an incredibly fine-tuned mishmash of styles and ideas that keeps evolving in surprising ways.

The Sisters Brothers is almost as aimless as its title characters, but it's worth the journey. John C. Reilly and Joaquin Phoenix shine as wild west hitmen who are just smart enough to know they should be smarter, whose quest leads them in unexpected, funny, and surprisingly emotional directions.

Set during a single, legendary evening, Richard Linklater’s Broadway biopic unveils the life and anxieties of songwriter Lorenz Hart through rapid-fire conversations, led by an incredible Ethan Hawke.

I’m Your Man promises Dan Stevens as a rom-com dreamboat, but what it delivers is far more intriguing and rewarding.

The movie plays its fun, spooky premise as straight as possible, while winking at the absurdity of its analog aesthetic.

Barbarian is one of the wildest horror films in years from its combination of subgenres to full-throttle approach to unapologetic exploitation themes.

We’re All Going to the World’s Fair is a moody, slow-burn horror drama about loneliness online.

Guillermo del Toro’s Frankenstein is a crowning achievement for the beloved genre director and one of the most effective adaptations of the Mary Shelley story ever put to film.

Certainly weird, confrontational, wildly satirical, and certainly unique, Sorry to Bother You is one of the funniest, energetic, and best films of the year.

1917 is an expertly crafted and emotionally exhausting thrill-ride behind enemy lines. Gloriously shot, deftly paced, and striking in its gruesome recreation of the time and place, Sam Mendes’ 1917 wisely never loses sight of the smaller, intimate elements in a fast-paced story with immense scale and action.

Sure, it’s an exaggerated and somewhat obvious film, but that doesn’t make director Coralie Fargeat’s point any less true – nor does it detract from the tremendously gory way in which she makes it.

With his latest directorial effort, Soderbergh has made a film that not only constantly pokes fun at its own characters and their lives, but finds a way to imbue each of them with a soul and heart along the way.

It's more oriented to the kiddies than Nightmare, but if you want something to watch with your little cousins or nieces or something that will give you something to enjoy as well as them, and you've already seen Tarzan 28 times, check this one out.

Nosferatu is Robert Eggers' finest work, given how it both boldly stands on its own as a gothic vampire drama and astutely taps into the original texts — F.W. Murnau's silent classic and Bram Stoker's novel Dracula.

With a stunningly raw performance from Danielle Deadwyler, Chinonye Chukwu’s Till lives in the body of a traditional biopic — about Mamie Till-Mobley in the aftermath of her son Emmett’s lynching — but it turns real events into regretful, wistful memories, with a camera that refuses to look away from a mother’s pain.

KPop Demon Hunters is a stunning animated action musical with terrific fight sequences, catchy musical numbers, and an ample amount of harmony and heart.

Jordan Peele’s Nope is a bleak, hilarious sci-fi-horror romp, and one of the most entertaining summer movies in years.

It still seems like a stunning achievement to this day.

There are moments when Longlegs feels like a movie you’ve seen before, but with an evil filter laid over it: This is both a weakness and a strength, as Perkins’ horror surrealism renders the familiar strange, and the strange familiar.

A harrowing tale rooted in real events, Women Talking takes a stage-like approach to its debate between victimized women in a commune, but imbues it with cinematic flourishes. It’s also one of the rare ensemble movies where every single performance makes it worth watching.

Best of all, it's just a story of a kid's Christmas. There is no big spiritual redemption, no one has to learn a lesson.

It’s a distinctly less subtle look at misogyny than her #MeToo masterpiece The Assistant, but Green further distinguishes herself as one of the most exciting and provocative feminist filmmakers around.

Inu-Oh is the electrifying, headbanging animated rock opera that film has been sorely missing, with a poignant message and unrestricted animation that reaffirms the visual prowess of director Masaaki Yuasa.

What was boring and dull to our 12-year-old selves back when Dad was watching this film 25 years ago is now a thoroughly engrossing and satisfying film experience, and a reminder that what is old can be new again -- whether it's Newman's Galvin's outlook on life, an old courtroom drama premise, or a movie revisited after a quarter century lapse.

The bold risk of transforming Robbie Williams into an enjoyable CGI chimp pays off both emotionally and visually. Turning his back catalogue into epic musical numbers with stunning choreography and heart-wrenching storytelling, Better Man comes out swinging and winning.

With a playful camera that rushes through space and embodies a ghostly spirit, Steven Soderbergh’s resourceful haunted house thriller is a midnight genre romp.

I, Tonya is a fairly conventional biopic of the scandalized sports star, but one buoyed by Margot Robbie's performance.

Project Hail Mary is a rollicking sci-fi blockbuster celebrating how much we can accomplish when we work together… and how much meet-cute mileage you can get out of watching Ryan Gosling befriend a rock alien for two and a half hours.

It’s nice to see June Squibb land a starring role for once, but her quest for revenge in this Sundance crowdpleaser is more cutesy than charming.

Love Lies Bleeding combines intense lesbian sexuality with shocking, graphic violence for a film that really gets the blood pumping. Kristen Stewart embodies her dirtbag character with the jumpy physicality she does so well, and her chemistry with co-star Katy O’Brian is powerful. The film loses focus as it escalates to hysterical heights in its second half, but its pulpy, fetishistic pleasures are potent.

Suzume is a captivating film that depicts the grieving process in a creative and thoughtful manner. It features a strong cast, a moving score, and some truly amazing animation.

It may not be Coppola’s most thought-provoking or emotional outing to date, but it’s a chilling and stunningly well-made one nonetheless.

Kathryn Bigelow's new docudrama Detroit emphasizes immediacy and brutality over historical context.

28 Years Later is as potent and timely an exploration of cultural strife as the original, and Danny Boyle and Alex Garland tug at the heartstrings with bloody, deadly skill.

Gerald’s Game is a set of tightly wound gears that cranks out dread. Carla Gugino and Bruce Greenwood are as superb as they have ever been.

Fun, action-packed and dramatically deep, How to Train Your Dragon 2 is a prime example of "How to Make a Sequel."

Promare's fun characters, stylish animation, and constant escalation make for a great first film from Studio Trigger.

The Disaster Artist is a hilarious and heart-wrenching ode to outsider art, with a baffling story that would be impossible to believe if it weren’t apparently true. James Franco directs the film with sensitivity and painstaking detail, and gives a fantastic performance as one of the worst filmmakers - and one of the most unusual human beings - ever.

In spite of the adult material, it’s a genuinely affecting underdog story, and a rallying cry to anyone who has ever dreamed big. Most of all, Dolemite is a heartfelt tribute to a genuine auteur who spent his life spreading laughter and joy, and who made movie magic by always staying true to himself.

Director Sean Baker continues his strong career of shedding light on the fringes of American society with incredibly human stories. The undeniable center of Red Rocket, however, is a powerful turn from Simon Rex.

Stand by Me is easily one of the best Stephen King adaptations and one of the best coming-of-age stories ever made.

All Quiet on the Western Front is just as bleak as you might imagine, with an unflinching examination of the horrors of war. It’s a brutal, exhausting, and raw reminder of the evil humanity is capable of inflicting upon each other, and it couldn’t be more timely.

Writer-director Aaron Sorkin's star-studded chronicle of The Trial of the Chicago 7 is timely and terrific.

Cloud is a masterful, paranoia-inducing action-thriller with a horror maestro’s touch, filled with great performances, terrifying scares, and a finale that will linger in your mind long after it’s over.

Saulnier savages the legal loopholes that allow police to exploit their community, all while offering the year’s most breathlessly suspenseful standoffs. It’s what a modern crowd-pleaser should be: smart, gripping, and about something.

An engrossing, inventive, and at times, unsettling horror film.

Wonder Woman is leaps and bounds above the other three entries in the DCEU. With a dramatic setting, a few entertaining action scenes, and a strong supporting cast all working together to tell an inspirational Hero’s Journey, it more than offsets some occasionally uneven acting on Gadot’s part and some shaky technical aspects.

Spencer is a narratively ambitious film that remixes reality and fiction to get us inside the head of the Princess of Wales, exploring mental illness and past trauma with high camp that captures the suffering of its main character. Kristen Stewart gives a career-best performance while Pablo Larrain cements himself as a go-to director for unique and thoughtful biopics.

Sisu: Road to Revenge offers a ludicrous and punishing take on the same fantastic action-forward indulgence as the original, resulting in a sublime outcome. Writer-director Jalmari Helander's brand of excitement is loud, resilient, and pushes breakneck intensity to the maximum.

Francis Ford Coppola has tightened up and retweaked his final Godfather film, but the original's inherent flaws remain.

King Richard is a simple tale of triumph over adversity. The supporting cast shines, Will Smith excels, and while this might not be the full story, King Richard nevertheless works as both character study and feel-good sports movie.

What is less certain is whether the breadcrumbs that are available to the viewer the first time through mother! will be satisfying enough for them to do more than run a quick Google search to provide some answers.

Vampire vs. the Bronx offers enough kid-friendly thrills and laughs to entertain and introduce newcomers to the horror genre, while also offering a socially conscious exploration of gentrification we haven't seen in the genre before.

The Woman King overcomes the perils of its overstuffed script with a collection of performances that elevate the whole. As expected, Viola Davis is the emotional center of the piece, masterfully fine-tuning her performance to go from fierce to vulnerable as needed.

Asteroid City is one of the best movies Wes Anderson has made. It's deceptively hilarious, and includes all the visual flair one would expect from this veteran auteur director and such a large cast of renowned actors.

From its anachronistic homages to its tensionless filmmaking, Pearl — Ti West’s prequel to X — doesn’t have nearly as much to say as its predecessor. Mia Goth gives it her all as a villainess who dreams of stardom, but the film can’t decide what to do with her.

Watching the film takes some patience. You have moments where there's 10 seconds or more of silence in between dialogue. When it gets violent, it's not the psychotic glee we're used to from Quentin Tarentino and his acolytes, it's simply the way things were in that life, unvarnished and brutally honest.

Encanto is a vibrant, visual delight that’s just as magical as the family at its center.

OBEX is a lo-fi stunner of a video game movie, merging a deeper understanding of the way games work with playful and creative sequences that also pack a deeply emotional punch.

With more jokes than you can possibly catch in a single viewing, The Naked Gun proudly brings cinematic groaners and outrageous sight gags into the 2020s.

Stan & Ollie muddles up the history a bit, as all biopics do, but it’s a film without any meaningful flaws. Every character is wonderfully realized, every performance is spectacular. You’ll laugh all the way through, you’ll cry by the end, and you’ll see the brilliance of Laurel & Hardy come back to life via the very same cinematic magic that made them legends in the first place.

Misery offers a first-rate Hitchcockian thriller filled with amazing performances, solid direction and masterful writing.

Fyre delivers greatly on the delight in the misfortune of the wealthy and the shallow that we all expect and crave, but it also smartly doesn't hang its hat on it. It's mostly about the actual well-intentioned people involved in this fiasco and how anyone can be suckered into a vision or dream when no one in a collective is willing to speak out as a lone voice of reason.

The French Dispatch is both an ode to print journalism and one of Wes Anderson’s most richly detailed films.