Without a shred of embarrassment or irony in sight, The Napa Boys is a film made by people who believe in their sense of humor and hope to share it with audiences in a crowded room to laugh together.

Many films like this may exist, and many more will certainly follow. But Layton’s attempts to differentiate this particular crime film will leave audiences with enough worthy moments to linger on, even if the overall impact is modest.

For purists, this approach may be considered sacrilegious. For others, it will be exhilarating. There is no denying that Wuthering Heights will inspire fierce debate. But there is also no denying its craft, ambition, and emotional conviction.

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

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

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.

Volpe’s direction and the stoic pace keep Frank and Louis at arm’s length, never truly letting us engage with them on a deeper level.

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.

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.

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.

Wicker is a sweet, gently moving love story at its core that reminds its audience that the most effective and necessary traits for a successful relationship of any kind are simple honesty and respect.

Led by a terrifically tender performance by John Turturro, it’s a classy, enjoyable, lovely film about a man out of time, coming to terms with the fact that the world he occupies is no longer the world he knows.

The writing is original, rich, and effective, ramping up tension until it reaches a graphic, brutal crescendo in the third act.

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.

There’s a century worth of experiences packed into this room to glean from, and nearly all of it is an enthralling exercise.

One of the most impactful documentaries in recent years.

Like the titular woman herself, the film from co-directors Judd Apatow and Neil Berkeley is equally hilarious and unafraid to be very, very real, beckoning viewers in like a close friend and rewarding them with laughs and profound insight.

The jokes are plentiful in quantity but certainly not in quality, and the shiny, cheap-looking filmmaking itself doesn’t make it any easier on the eyes than it is on the ears. And while it certainly has a heart, thanks in huge part to the talented ensemble of funny performers, it doesn’t have the brains or the nerve to be clever or daring in its comedy.

A handful of compelling sequences of physical action cannot save a narrative weighed down by a mundane plot, pedestrian characters, and an intolerably sluggish filmmaking style.

Stephanie Ahn offers an evocative portrait of the immigrant experience, moving beyond surface observation to investigate the visceral, internal world of children raised in the crosshairs of cultural expectation and personal identity.

The Shitheads is one hell of a ride, with nonstop laughs and absurd, shocking turns around every corner.

Rare are comedies this funny and this mature. Its rich themes hit home, especially for anyone in a long-term relationship.

Raimi’s efforts as director do a lot to bring out a campy tone amid the violence, which makes for an engaging ride. The commitment from McAdams and O’Brien goes a long way toward elevating their characters, and watching their changing dynamic unfold is intriguing. Yet these elements are fighting against a script that weighs down the other inventive aspects of the performances and filmmaking. The narrative is too broad and can’t sustain itself over this runtime.

The Wrecking Crew simply relegates itself to the walls of screensaver cinema, destined to be ambient background noise.

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.

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.

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 easy to identify the ingredients that would make “Bunny” fodder for a compelling situation. The characters, premise, and comedic setups are all there to drive up the tension while also crafting engaging set pieces to witness. Unfortunately, it all amounts to very little.

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

Wasteman might be one of the bigger surprises this year at the Toronto International Film Festival and certainly one to keep your eyes on.

There’s certainly entertainment value in “Mercy,” especially in a late-film chase captured largely via dashcam, and in the film’s gamified version of criminal court, which has a video-game-like appeal. But with a concept so close to the real world, you need to engage with the ideas to connect with the audience beyond the surface, truly.

“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.

Unidentified uses the familiar framework of a murder mystery to tell a deeply political story about autonomy, visibility, and the high cost of speaking up. Even when the plot stumbles, the message never does.

The Rip is serviceable largely due to the well-worn chemistry between Affleck and Damon. It delivers exactly what’s expected, leaving viewers mildly satisfied in the moment, but unlikely to think about it again long after the credits roll.

Holland conjures up some genuinely Kafkaesque images and dialogue exchanges that feel like exactly the biopic Kafka deserves, and in those moments, “Kafka” is quite thrilling. Unfortunately, though, Holland’s surfeit of ideas results in a film that simultaneously feels like too much and not enough; too much deviation from standard biopic formula and not enough connective tissue to make everything cohere.

Even with crafts that, at worst, could be described as serviceable, the narrative and performances are so captivating that they more than compensate.

Lacking focus in the writing and direction, the film ultimately falls short of crafting a satisfying journey for the viewer to follow.

Sure, the characters are paper-thin and do many things that defy all logic and common sense, but that’s part of the fun. Primate is bad in many of the ways you’d expect, but it’s better in many ways you won’t. It’s the best kind of January surprise.

A flimsy plot and uninteresting characters would be tolerable if the dramatic moments of intense destruction were more intriguing. Instead, the palette is wholly bland and lifeless, unsupported by the framework of the storytelling and performances. A handful of impressive scenes come nowhere close to saving this picture. It’s disappointing that one of the most unexpectedly entertaining films of the last few years has led to a banal, forgettable project.

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

Despite the constant threat of censorship (or worse), the reporters still manage to find joy and even humor in their daily lives. That comedic energy grows increasingly dark and even apocalyptic as the situation becomes more perilous, but “My Undesirable Friends” shows that the power of human connection and the fight for justice and freedom endure even in the most oppressive settings.

This quietly moving documentary takes a hands-off approach, which allows audiences to organically meet the film on its level. This method lets the farmers subtly present the central conflict that’s most affecting their lives and livelihoods. The gorgeous black-and-white photography gives the film an appropriate sense of timelessness.

While it’s impossible not to be moved by Holding Liat, Kramer also challenges his audience to consider the situation in Gaza carefully and really question what is best for the region going forward.

This new Anaconda does have some occasionally clever bits, and a smile can indeed stretch across your face from time to time. But those moments are fleeting, buried under a sea of other jokes that don’t land and a cash-in on nostalgia that is never really warranted.

The so-bad-it’s-good last act may be fun enough to convince you that “The Housemaid“ is a good time on the whole, and yeah, it kind of is. But that doesn’t make it good.

“Fire and Ash“reaffirms Cameron as one of our greatest storytellers and the Avatar series as the pinnacle of Hollywood blockbuster entertainment.

Silent Night, Deadly Night is no great piece of art, but in the same way that candy stuffed in a stocking is far from a five-star meal, it doesn’t matter to those seeking it out, and it’s enjoyable all the same.

Influencers loosely explores its ideas through a slew of new approaches, which don’t always pay off. This sequel does feel like a much bigger film, both in terms of scope and presentation. But while sustaining the tone and style of the original, these expansions of ideas work to varying degrees. Yet the hiccups present in such thematic explorations never feel like misfires as much as they feel a bit undercooked.

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.

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.

Claire Foy’s performance alone is reason enough to see it. She soars in a role that proves once again why she is among the finest actors working today.

What makes the film succeed, as much as it can, is that sincere commitment to advocating decency in a chaotic world. It demonstrates this ideology not only through its protagonist’s philanthropic ambition but also in how effortlessly charming these characters can be.

L’Aventura is sometimes a messy, repetitive, and frustrating watch. But that may be the point. It tests your patience like a real vacation can, which makes it feel uncannily familiar.

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.

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.

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

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.

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

A near-perfect parody chock full of witty wordplay, ingenious physical comedy, and diabolically clever sight gags.

Those who exist within the warm bubble of environmentalism will surely connect the dots between the tidbits the filmmakers present. But those who take the film’s paean to critical thinking at face value will be left disappointed, searching for answers.

There’s simply nothing of value here, not even the thrill of an adrenaline rush from a cheap jump scare. Any attempts at shock are hollow and laughable. The viewer is likely to leave the theater feeling similar to how Josh Hutcherson appears in this film, understandably checked out, vacant, and simply worn down.

The act of dreaming itself is what sustains us. Life is unpredictable, and dreams are sacred, which is why it’s nearly impossible not to find yourself rooting for someone as foolhardy as Marty Mauser, or for the beautifully unhinged vision of Josh Safdie.

Disney producing a beautifully animated film full of cute anthropomorphic animals may not be much of a surprise, but the quality of the screenplay is.

Copti’s direction coaxes authentic performances from his cast of non-professional actors and the script explores challenging themes in a compellingly even-handed way.

A beautifully crafted documentary that’s a celebration of the profound ways in which women like Sara Shahverdi can – and do – change the world around them.

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.

Keeper may not be as deeply horrifying as “Longlegs” or as darkly funny as “The Monkey.” Still, it demonstrates Perkins’ continued evolution as a filmmaker. He refuses to make the same movie twice, using horror as a way to explore new stories, emotional territory, and deploy new tones and techniques.

At the heart of it, perhaps Wright just wasn’t the right fit for this story, as many of us had hoped he would be. That being said, what he’s able to get out of Colman Domingo as “The Running Man” host Bobby T is worth the price of a ticket alone. If anything, like most films, it could’ve used more of Domingo.

Dragonfly could have been a gem to watch with a cup of tea on a rainy day. It has brilliantly nuanced performances and a heartwarming tone, but it doesn’t seem to trust the quiet power of its story. Instead, it’s ultimately undone by a clumsy, horrific final act. It’s a film that needed more faith in its own heart.

This is a powerfully intense erotic drama that exposes its central character’s exploitation of both the wealth gap and the age gap to devastating effect. Here’s hoping Chastain’s collaboration with Franco continues because they are doing exceptional work together.

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.

This is an entertaining and emotionally engaging mix of music and song that will play well to both die-hard fans and newcomers alike, with Bono proving charming company throughout the film’s 87 minute running time.

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

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.

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.

This is a powerful, well-made, urgently topical thriller that should put writer-director John Swab firmly on the map.

It’s a portrait that isn’t the most effective, but has enough pieces worthy of appreciation.

A pair of excellent performances from Rosamund Pike and Matthew Rhys, led by clever direction from Babak Anvari, make this a tense, captivating thriller, even while set in only one location.

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.

Regardless of Eliassi’s commendable efforts to enact real change, she’s a limited messenger in the pursuit of coexistence.

Chastain, Wasikowska, and Hiddleston do their best, but the writing of “Crimson Peak“ comes off far more slight than Del Toro’s previous work. It lives in the shadow of similar films, but with a far more unrelieved energy. Del Toro and Robbins eventually find a groove, but by the time that occurs, it’s far too late.

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.

Dylan O’Brien delivers a career-best performance, and James Sweeney shows both a deft hand and great talent behind the camera as director.

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.

Falconer deftly captures the pain and worry present in such a conundrum. But through her beautiful ode to Green Lake, she reminds her audience and characters that it will be okay.

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.

Hailey Gates shows a lot of exciting promise behind the camera.

The score is used in a thrilling way that pushes the narrative and thematic elements of the film forward.

The film’s relentless narrative is expertly performed by a cast of newcomer talent who empathetically portray its heavy subject matter with deliberate psychological intensity.

The Tale of Silyan becomes not just a portrait of one man’s endurance but a testament to human resilience everywhere. Blending myth and realism with exquisite sensitivity, Kotevska crafts a work of rare poetic power, a film that observes, listens, and ultimately illuminates the quiet, stubborn beauty of life itself.

A solid outing for the series with plenty of satisfying thrills, all of which is sold by the terrific pairing of Elle Fanning and Dimitrius Schuster-Koloamatangi.

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 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.

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.

It’s a film that’s emotional, exhilarating, and essential.

While well-made, The Currents lacks the spark of originality that could make it truly outstanding

The subdued, naturalistic, and sometimes playful approach to the subject is a welcome departure from more conventional family dramas about separation.

This is a film that’s as concerned with lofty ideas of existentialism as it is with the simply mundane observations of daily beauty. That both co-exist through the lens of Amélie makes this a timeless and essential tale about growing up and learning what it means to live to the fullest.