There’s no denying what a powerfully rendered tale this is, both impressive in its filmmaking and performances.

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

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.

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.

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.

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.

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.

A coming-of-age film that feels surprisingly original. It's hilarious and charming and features fantastic performances. Everett Blunck is a brilliant new talent to keep an eye on.

Jane Austen Wrecked My Life feels destined to become a quintessential Austen-adjacent classic. The film lives up to its playful title with a thoughtful blend of the author’s sense and sensibility.

Billie Eilish Hit Me Hard and Soft: The Tour Live in 3D is the result of two very innovative artists joining forces to combine their artistry and create one of the greatest concert movies to date. It is the magic of music and film.

Either you’re able to get on Fuller’s wavelength or not, but the freshness and boldness of Dust Bunny are cause for celebration, regardless of which side you find yourself. There’s nothing else like it.

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.

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.

It’s exactly the kind of solid entertainment, with the right mix of laughs and tears, that reminds us of the genius-level storytelling the good folks over there are capable of. It’s precisely what the animation studio needed at this time and fits comfortably alongside some of their upper-tier offerings.

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.

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.

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

Our Hero, Balthazar, is a riotous dark comedy that manages to push all the right buttons in its curiosity about an isolation that is currently plaguing young male zoomers.

Bugonia makes the disappointing choice to favor ridiculousness over meaning.

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 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.

It is a harmless outing that, while featuring a few strong performances, ultimately feels like a pleasant diversion from a filmmaker who is clearly capable of far more.

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.

Boots Riley is a genuine original, and in I Love Boosters, he makes a statement as wildly entertaining as possible.

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

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.

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.

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