It stands as a tribute to the power of storytelling, the influence of the moving image, and the enduring spirit of revolution in all its forms.

The story, while unique enough in its presentation of Tourette’s, follows the same patterns as any number of other feel-good disability dramas, but all the actors are so believably in touch with their humanity, in all its messiness, that they make the material sing.

With her feature debut, Popov establishes a bold and playful visual identity that will leave audiences eager for her next project. True to fashion, Idiotka does, indeed, slay, serve, and survive.

Lowery, clearly fascinated by the plight of the modern pop star, has made “Mother Mary” with both the fervor of a fan and the insight of a fellow artist. The questions the film asks about the identity of pop stars as well as the ownership of their music, their image, and their very souls don’t all have answers, and Lowery doesn’t provide them. He does, however, provide plenty of food for thought as he asks these questions, interrogating the relationship between artists and their audience and what each owes the other.

While it can be subjected to tedium, the engaging aura and captivating performances do more than enough to assemble a heartfelt analysis of love, bereavement, and finding one’s inner truth.

With The Librarians, Kim A. Snyder has crafted a moving, invigorating call for tolerant thinking and freedom to prevail. Thankfully, it provides a path forward for those who will watch it with concern, showing that the best way to combat ignorance and hate is with the further dissemination of knowledge. Evil prefers a closed mind, and like a good book, these librarians seek to open them.

Zak Hilditch has crafted a harrowing, unsettling zombie movie that totally enmeshes the audience in its collapsing world.

The subjects here are soulful in their recollections and captivating as they hold court. Even with missed opportunities for an even deeper understanding, what is present is still a worthwhile discovery.

At times, the roundabout structure of “Couture” can make for a plodding watch, and leaves some character development to be desired. But there’s a spellbinding quality to Winocour’s direction; she glides from one woman’s perspective to the next somewhat obliquely. In doing so, she unearths gems of inner conflict in characters who are withholding so much about their personal lives just to do their jobs and get through the day.

In a heightened depiction of the hyper-privileged, “Succession” drew parallels to the real world. The balance between absurdity and glimmers of sympathy in such morally corrupt characters made the show an irresistible watch. A feature-length doom scroll from the perspective of out-of-touch, not-so-sympathetic billionaires is a little harder to digest.

Even with relatively minor quibbles, it’s hard not feel appreciation that a contemporary movie made in an uncompromised fashion about such a cinematically unpopular topic as sex exists at all. Hopefully, Araki doesn’t take another 12 years off and continues to probe into other areas of modern human interaction.

The film is full of vibrancy and joy, enveloping us in an energetic community of the arts.

Anya Taylor-Joy brings a dynamic playfulness and personality to her character. While Miles Teller doesn’t quite match Taylor-Joy’s level of screen presence, the two manage to create fun chemistry and make the most out of an unfocused concept.

Oxman has a great directorial voice and uses close-ups and wide shots to allow the audience into her characters’ world.

The whole film has a surfeit of personality, thanks in large part to the multi-hyphenate Russo’s distinct voice permeating every aspect. In addition to writing and directing, Russo also edited and scored the film. That level of control may seem like a lot, especially for a first-time filmmaker, but when you have a vision as specific as Russo does here, it makes sense.

Instead of the sharp satire of modern-day relationships it starts out as, “Over Your Dead Body” becomes a gross-out comedy in its second half. While it’s very good in both of those modes, it can’t help but feel a bit disappointing that it takes such a sharp turn from something that’s both fun and perceptive to something that’s just fun.

While it may be indebted to more modern storytelling methods than his previous features, Hokum still possesses enough of McCarthy’s dark magic that it will hold you in a vice grip all the way through. Considering how played-out many horror films feel nowadays, McCarthy’s mastery at scaring the audience is cause for celebration.

With warmth and sincerity, “I Wish You All the Best” becomes a reminder that kindness matters and that sometimes, the compassion of others can truly save a life.

The character study being forged remains passionately vibrant, and Maura’s performance serves as the guiding light that makes this effort worthwhile. She is undoubtedly the film’s greatest asset, and it’s worth seeking out just to watch her brilliant work.

While the film’s messaging isn’t always perfectly nailed down, it remains a powerful exploration of the terrifying fact that we are the architects of our own reality. It is a strong debut that proves Jessica Rothe should be in more things, anchoring a film that is gripping and unsettling.

Marczak’s film is a testament to a parent’s unwavering love and their willingness to do whatever it takes to bring their child home.

Cover-Up is an overall captivating, invigorating watch. Without editorializing too obviously, Poitras and Obenhaus have created an incredibly impactful and, at times, infuriating look at America’s history of violent imperfection, showing that when it comes to holding our nation accountable, journalists like Seymour Hersh are an absolute necessity.

The whimsical tone becomes repetitive at times, and the recurring flashbacks to Antoine’s relationship with Irene often slows the film’s narrative momentum. Additionally, the film nearly collapses under the weight of its lofty ambitions in the final act, only to dodge a potentially disastrous conclusion. However, the believability of Antoine and Suzanne’s shared journey holds firm.

The film’s adherence to these genre cliches, along with the characters’ very one-note motivations, holds “LifeHack“ back from reaching the tier of excellent heist films and, more importantly, settles for the best that a screenlife film can be.

Thanks to Ahmed and Karia’s creative collaboration, this new version of a man caught between expectation and collapse, tradition and insurgency, love and fury will hopefully find its way to a new generation that has never experienced Shakespeare’s timeless story before.

The film’s message is less about the remarkably bright creatures themselves, and more about the power of finding healing and solace in community. It’s a forgettable yet instantly re-watchable, feel-good story that tugs on your heartstrings and knows how to do it.

The culmination of Soto’s themes mixed with his comedic prowess produces an insightful meta-meditation on the meaning of creation. Its rewarding contemplations conclude its saga of misfortune with the power of the spoken word — wrapping the protagonist’s search for creative consolidation with a heart-rending bookend.

Exit 8 shows video game adaptations can still have a sense of originality, both narratively and technically.

Wicked: For Good is a lovely ode to the beauty of female friendship, the spirit of individuality, the power of goodness in the face of authoritarianism, and the influence one true friend can have on an individual to grow into their full potential.

Alex Gibney’s documentary stands as a testament to the power of art in any form to push back against both abstract and real forms of oppression.

It’s a tale as old as time, but the filmmaking basks in its luxurious style as the performances do their best to create captivating portraits of their own. There may not be too much distinctiveness from what’s on the page outside of the lack of talking, but sometimes words fail. Action is needed, and this has more than enough to satisfy.

For some, the narrative’s stronger foundation will be an asset. For others, it’s an underwhelming aspect that detracts from the overall enjoyment of the read. Either way, the film remains a fascinating piece that showcases a high level of creativity, making it worthy of being experienced.

Johnson, giving the performance of his career, along with excellent work from Blunt and Bader, makes an inconsistent screenplay not only watchable but entertaining and deeply moving.

Grabinski’s joke-a-minute approach is instantly injected with the melding of genres that Mike & Nick & Nick & Alice embraces throughout its gut-busting runtime, reminding audiences why comedies of this vein are becoming a dying breed and that Vince Vaughn, when he wants to be, remains one of the more reliable comedic presences working today.

Bertino and Fanning make some wholly horrific magic together, and their diabolical efforts culminate in a wonderfully sinister parable that is nearly impossible to forget.

While the film falls into the same pitfalls most celebrity documentaries are bound to repeat, Alvarado not only crafts a suitable tribute to one of the more underappreciated artists in American history but also shines a light on a subset of Latino culture that deserves its time in the limelight.

Lost in the Jungle is a gripping, deeply human tale of survival, told with precision, empathy, and artistry by two of the very best documentarian filmmakers out there.

A deserving conclusion to this era of the Peaky Blinders as Cillian Murphy remains in top form alongside Barry Keoghan who fits right into the world.

As is always the Achilles’ heel with Hosada, his narrative devolves into an elementary morality argument that feels completely dissonant with the extravagant imagination he’s able to conjure in his illustrations. His ambitions will always be appreciated for the bombastic exhibitions, but a deeper meaning to the themes he examines would also be appreciated.

It’s a fitting end to the Warrens’ cinematic journey and a graceful farewell to a franchise that gave us more than we ever expected.

It is a classic underdog story wrapped in bold animation, infectious energy, and real heart.

“Fiume o Morte!,” a reference to D’Annunzio’s slogan “Fiume or death!,” is a brilliant, subversive takedown of fascism, ruthless in its pushback against this embarrassing chapter.

Little Trouble Girls is a confident debut from Djukić, who captures so much life and perspective into a dreamy 90-minute film. Making it even more impressive are wonderful debut performances from Ostan and Svajger.

Honoring its protagonist’s struggle by embracing every bit of the difficulty of that struggle, while keeping a deliberate (if not exactly slow) pace, keeps the film grounded in a darkness that Fonzi ensures is always present. While that might seem overwhelming, it gives the film a sense of realism that lifts it above most legal dramas.

The film is well written enough to capture the pain of everyone involved and to understand their perspectives. The film also features great camerawork, with close-ups that make the entire experience feel claustrophobic, especially when people make Jimmy doubt himself.

With a movie like The Serpent’s Skin, the accomplishments of the whole outweigh the nitpicks of its parts. The vibe is so, so right. Anyone looking for an empowering, forward-thinking, and trippy watch will feel right at home slipping into this movie’s, well, skin. It’s quite literally spellbinding.

Director Maria Friedman has brought her landmark Broadway revival of Stephen Sondheim's most notorious flop to the screen that, in several key ways, actually improves on her heralded staging. The much-awarded performances of Radcliffe, Groff and Mendez shine even brighter on the big screen.

With a film called Fantasy Life, one might expect it to contain a romanticized version of reality, where the characters’ conflicts are magically solved, and their journeys are wrapped in a neat bow. Endearingly, Shear’s version is messier and far more grounded. While the characters live extremely privileged lifestyles and aren’t quite operating in the real world, the film simultaneously touches on the compelling subject matter of personal disillusionment and its impact on mental health struggles.

Yes, it’s ridiculous. No, it doesn’t make perfect sense. But, damn, if it isn’t a hoot and a half to watch.

Ultimately, Endless Cookie succeeds primarily because it keeps the story simple.

While the sprawling storytelling can be disjointed at times, and some topics fall short of intrigue, “The Oldest Person in the World” offers several impactful moments to reflect meaningfully on aging. Green follows through on his compulsion and explores a fascinating subject with curiosity, while introducing us to an equally fascinating group of individuals from around the world.

Anchored by moving performances from Emilia Jones and Nick Robinson, you’ll find yourself falling in love with all that Charlie Harper has in store.

With its childlike perspective, it explores themes of hope, empathy, and the consequences of progress, set against a visually stunning backdrop rendered in vibrant colors and imaginative design.

The performances by the entire cast are charming and authentic, elevated by a lovely score and picturesque cinematography. A gorgeous, personal story that's more than easy to get emotionally invested in.

After the Hunt struggles to decide precisely how it wants to approach its examination of the (to reference one of Alma’s teaching topics) panopticon-like method of dealing with allegations of amorality in today’s society. But thanks to Guadagnino’s strong filmic choices, Trent Reznor and Atticus Ross’ unnerving musical score, and striking performances, it still manages to draw audiences into its chilling, unsteady world effectively.

Amazingly, Coppola’s intimate portrait manages to have mass appeal, thanks to both her entertaining approach and Jacobs’ down-to-earth, relatable personality. It turns out the pair work well together, leading to a film that both label chasers and thrift store fanatics will love.

Though the documentary remains fairly light overall, its brief reflections on grief land with genuine poignancy.

It’s a tender examination, sometimes not fully formed but always with provocative ideas to unearth.

The story strains to keep momentum as it juggles twists and character threads, and while Aronofsky ties things together in a satisfying way for some, others may find the ending underwhelming. Still, in a summer crowded with blockbusters that failed to meet expectations, Caught Stealing stands out as one of the few worth revisiting.

Separating Kokuho from most stories of artists striving for greatness is Sang-il’s commitment to capturing kabuki’s physicality. The filmmaker reminds us that greatness often comes from intense dedication as much as from the people around you. It is the art form itself, not just Kikuo’s internal desire, that makes his story worthwhile.

A fantastic cast brings a soulful and endearing story to life with plenty of gags and creative world-building in between.

The prevention of the rise of similar evil is an unending project needing similar vigilance and tenacity as expressed by many of those captured here on screen in “Nuremberg.”

In Your Dreams doesn’t reinvent the animated adventure, nor does it need to. It’s a whimsical, sometimes chaotic journey that effortlessly balances humor, imagination, and heartfelt emotion.

Mads Mikkelsen and Nikolaj Lie Kaas give terrific performances and the film’s wild mix of dark comedy, absurdity, and emotional moments keeps it endlessly engaging. Its visuals, sound design, and uniquely Scandinavian humor create a memorable cinematic experience.

In the end, The Long Walk is a brutal yet strangely moving reminder that sometimes it is not about the destination at all, it is about the grueling path that gets us there.

This is an accomplished debut for writer-director Bresser, a superbly acted and beautifully shot mystery thriller with a strong sense of place and some satisfyingly Lynchian undertones.

Sections of this story are missing to give an even broader context, and that means the more powerful message of what really went into making this picture ultimately is muted. However, for anyone who looked upon this enormous undertaking and wanted a bit more information, there is plenty here to satisfy.

Father Mother Sister Brother is a cinematic series of variations on a theme, proving to be a gentle yet humorous look at how we interact with the people we have no choice but to know and, hopefully, love.

Lurker is an eerie and chilling thriller that keeps its viewer stuck in an endless feedback loop of disconcerting behavior that’s only becoming more common.

If this film is anything, it’s a profoundly curious look at why we often shy away from what we feel are weaknesses. It also brushes up against this same penchant for uneasiness in the face of death with a lot of heart and honesty.

This isn’t just some quirky look at an obscure American event and subculture or a love letter to the filmmaker’s home state; it’s a sly indictment of 21st-century America, wrapped up in what looks like a trashy thrill ride. It is pretty thrilling, to be sure, but much like how our intrepid hunters learn that the hunt is much more driving around in the dark than stalking and killing snakes, it’s not what you expect. For both the hunters and the audience, that’s for the best.

Despite being overwritten in places, the screenplay is the real star of the show in The Wizard of the Kremlin. Full of astute observations and dryly humorous quips, it’s gratifying to listen to. Assayas’ film is catnip for followers of political machinations, even if more casual viewers may find it as unconquerable as Russia has proved to be over the centuries.

Koji Fukada’s lovely film offers up unobtrusive but valuable lessons on the importance of accepting one’s reality while not shying away from reaching for what’s desired.

The final notes are disappointingly underwhelming, but the emotional journey leaves a lasting impression.

Seydoux’s gut-wrenching performance at the center of Gentle Monster, combined with a sensitive approach to horrifying subject matter, makes a tough watch equally compelling.

It may not always be easy to thoroughly enjoy a work like “Blue Film” because of its tough subject matter. Nobody wants to see an entirely sympathetic perspective of a person who has committed some of the most horrible deeds imaginable. But the strength of the film is not in seeking to answer those pure moral questions. It thrives in that gray area, contemplating the pain that leads people to the lives they end up creating for themselves.

It’s easy to feel left behind by the film’s intentions. But no matter viewers’ specific level of interpretation, what Schoenbrun does with the slasher genre, using it as a springboard to explore ideas that clearly resonate with them, is compellingly intelligent and consistently fascinating.

“Infinity Castle” doesn’t feel like a movie so much as a wobbly, but often entertaining, first third of a season of television. Mileage will vary if we should grade on a curve knowing it’s the first part of a planned trilogy, but for my money, if you pay for a movie ticket, you deserve a movie ticket ending.

The film deliberately avoids sweeping statements and proclamations, instead choosing to smartly focus on one ordinary person, brought to life by one of our most extraordinary performers.

Verbinski directs with a striking visual style that punctuates the film’s many sight gags while establishing a grunge-inflected aesthetic suggestive of impending urban decay.

You, Me & Tuscany has all the right ingredients; the recipe’s just a little off. Throw in a little more spice and add some depth to the central romance, and the next time Page and Bailey do this together, they might just make a classic.

Though the film can feel a bit too unstructured at times, it’s made all the better with a charming film debut from Charli xcx and a cast of characters who keep the energy high at all times.

Overall, Obsession turns the volume up on impassioned romances with some incredibly committed performances from stars Johnston and Navarrette, and the wild scenarios they have to navigate. This is a film that demands to be seen with an audience to experience some high-energy creeps, chills, and thrills.

Ultimately, Mile End Kicks is a messy, heartfelt portrait of youth and creative ambition.

Slanted has many interesting elements at play, not only in its own story but also in the films it draws inspiration from. Unfortunately, it just doesn’t go far enough in the end.

Sorogoyen’s film meanders, and some of his visual flourishes are more puzzling than profound. Still, the two lead performances and one superb scene later in the film elevate the entire affair.

With stellar stylization and a soundtrack full of female-driven punk rock, it hilariously skewers the blatant sexism in the chess world while dramatizing gripping matches. A crowd-pleasing documentary.

Markus Schleinzer’s Rose is always engaging and has something thoughtful to say about gender norms.

Wilson manages to weave in a nearly non-stop barrage of jokes into the 100-minute runtime, while still keeping the tone lowkey. Though the film starts to lose steam toward the end, feeling as though it might have struggled to fill the feature runtime, it never stops being funny.

It’s not an easy watch, intentionally so, but Herry delivers a shockingly buoyant, propulsive film about the perils and pitfalls of addiction.

Those who yearn for a return to Brat Summer will find themselves happily bumpin’ that, but any viewers who feel nothing at the sight of the color tennis ball green would do well to pass.

Exhilarating running sequences are animated with such creative flourishes. It sustains a few of the lulls in this film with thrill and dramatic impact.

While what we see on the streets of Seattle is engrossing and, at times, even startling, the lack of a singular protagonist keeps us from becoming as emotionally invested in the ultimate outcome of the protests as we might.

You’ll know where Goodbye June is headed very early on, but that doesn’t mean there’s not enough here to enjoy along the way.

Picture This may not be the most unique story, nor does it reach the pinnacle of the rom-com genre. But the film finds enough moments of freshness and earnestness in the protagonist’s journey to stand out in a sea of generic rom-coms. Ashley’s incredibly charming performance is the most compelling highlight of the film.

The story still isn’t the most captivating and has another bit of frustrating sequel bait that muddies some arcs towards the finale, but it has a clearer sense of focus, at least putting the exciting sequences to the forefront. The filmmaking still has a bit of a stiltedness to it, but it leans further into an energizing tone that is far more engrossing.

The film struggles to find an effective core focus that ties all the narratives together in a cohesive and entertaining manner. Ultimately, Fuze lacks the precision in its writing to make the twists and turns worthwhile.

Carney does dig into something interesting about inspiration: how, in music, it’s an amalgam of origins that’s harder to define than in other art forms. Still, the rest of the film settles for being a feel-good dramedy, with any depth merely trailing behind the tear-inducing monologues these characters deliver.