Pig subverts the expectations of the average revenge-thriller and accentuates the deep emotional scars that often underscore these stories. It features a measured, meticulous performance from Nicolas Cage.

Alexander Payne finds deft balance with The Holdovers, in which every glance and verbal exchange may as well be set up for something equally hilarious and touching.

Benefitting from a strong story held together by a solid ensemble, Da 5 Bloods works as a caper, it works as a drama, and it works as a searing commentary on our current cultural moment.

One of Wes Anderson’s best movies, an imaginative and amusing travelogue through incredible settings, populated by wonderful characters, with a lot of heart and even a little insight. You can feel the love radiating off of this movie, like a hug from your own beloved pet.

Derek DelGaudio's In and Of Itself is a beautiful, powerful performance that employs art, illusion, storytelling, and its own audience to explore aspects of identity, isolation, and our own desperate drive to figure out who we are as individuals. There's nothing quite like it, which, as goes the uniqueness of humanity, is the point.

With a nuanced perspective and eye for detail, director Hiroyasu Ishida has swept the floor with a debut that hits all the sweet spots of a coming-of-age story, and I can’t wait to see what’s in store from him and Colorido in the future.

The Long Good Friday is arguably the best British gangster film ever made due to its politically-charged story and the performances of Bob Hoskins and Hellen Mirren.

It organically expands and grows what came before. It’s a deep, rich, smart film that’s visually awesome and full of great sci-fi concepts, and one that was well worth the 35-year wait.

Weapons is a righteous, fully actualized genre-bender in which writer-director Zach Cregger hones Barbarian’s blend of unbearable tension and dark humor to a new level of razor-sharpness.

Everything Everywhere All at Once is a complex film that encompasses a variety of subjects, but it does justice to each of them with a carefully written script, marvelous performances, and a healthy dose of bizarre humor to counter its bleak story. Michelle Yeoh in particular gives a powerhouse performance in a story that puts a fresh, welcome spin on the idea of the multiverse.

A rousing, spectacle-filled blockbuster, Godzilla: Minus One takes the king of the monsters back to his roots in post-WWII Japan. The story is character-driven, but the monster scenes are exciting and effective.

Coco wonderfully explores familial themes, identity, and learning what it means to grow up in a world that isn’t perfect.

A pleasant surprise that both undermines and elevates typical revenge sagas, Riders of Justice is a unique blend that charms and captivates.

Obsession should and will put Barker on the map as a horror filmmaker you need to watch. Thanks to fantastic turns by Michael Johnston and Inde Navarrette, you'll be addicted to this sour Valentine's Day counterprogramming.

Us is a very, very strange film. But that’s OK because it wouldn’t be a Jordan Peele joint if there wasn’t a little risk involved. Peele has proven that he’s not a one-hit-wonder with this truly terrifying, poignant look at one American family that goes through hell at the hands of maniacal doppelgangers.

The film has a stirring emotional honesty, and an impressive intelligence about its subject matter. It’s a film that may one day be required viewing for adolescents, and it might just change them the way that these events change its protagonist.

I Lost My Body stands as one of the year's best and most profound pieces of animation.

Glass Onion: A Knives Out Mystery is a bigger, bolder, funnier, angrier sequel that improves on almost every aspect of its predecessor.

Whatever lies in store for the future of Mission: Impossible, McQuarrie’s third outing as director proves that he still has an ingenious bag of tricks to pull from, having departed from the gloom and doom of Fallout to create an explosive yet self-reflexive action saga that leaves you wanting more.

For those who enjoy indulging in an exciting, moody, stylized cop drama molded from the best of templates and carved out of '80s pop art, To Live and Die in LA is a truly great way to spend an evening.

Ford v Ferrari is well acted and shot, but the story doesn’t engage, making James Mangold’s latest effort something of a slog.

The Mitchells vs. The Machines is a ridiculous, riotous, and relevant adventure fill with great humor and winning sentiment.

The horrors of childbirth become entangled in a demonic subplot as Huesera fits neatly into the list of chilling pregnancy horror tales, but doesn’t add much new to it.

There’s a wit and humor at play in The Bone Temple that elevates, in all the right ways, the dramatic stakes of a zombie apocalypse working on its third decade, especially in Ralph Fiennes’ record collection.

Wake Up Dead Man is a solid third entry for Benoit Blanc, finally delivering the classic-style mystery the series has sorely needed.

An intoxicating historical musical about faith, led by career-best work from Amanda Seyfried.

While its gnarly payoffs eventually peter out, X is filled with fun and intense setups that harken back to classic slasher fare.

Marcel the Shell With Shoes On suffers from an aimless plot that feels stretched too thin, but it provides one of the most endearing and adorable animated characters since Paddington Bear. It delivers enough heart, laughs, and innocence to forgive its shortcomings.