Despite its faults, Song Sung Blue is a sentimental, deeply non-cynical film that practically anyone can enjoy, and is sure to be a holiday-season winner.

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.

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.

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.

On A String is a gentle film; even its more satirical elements aren’t particularly prickly. That softness, combined with extremely low dramatic energy, unfortunately, means that it’s not always the most enthralling film, and its abrupt ending (and super short runtime) gives it the impression of inconsequentiality.

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.

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.

Ultimately, Tuner is a film about sound, silence, and rediscovering who you are. It’s about the terror of losing what defines you, and the strange, unexpected ways life can offer a new shot for those who feel they already missed it.

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.

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

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

Two Pianos is at once a story about identity, aging musicians, memory (and the loss of it), the dangers of pragmatism, the treatment of young music prodigies and how it affects them as they age, overcoming addiction, and the lies we tell ourselves and others to justify our choices. All of these ideas are connected, but none of them rise to the top to become an overarching theme that unites them all.

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.

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.

The Super Mario Galaxy Movie is inarguably fun, built for fans of the long-running franchise. For lifelong fans of this universe and young kids experiencing it for the first or second time, this is a Mario fan’s dream. There’s enough here to leave a mass audience satisfied, even if anticipation grows for the next film to level up. For now, good enough is simply enough.

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.

Preparation for the Next Life emerges as a poignant and empathetic examination of the challenges faced by young people in America. Through Bing Liu’s sensitive direction and Sebiya Behtiyar’s standout performance, it tells the story of two survivors bound by love but trapped in circumstances beyond their control.

Although considerable attention is paid to a general love of cinema and those who work to create it, this portrait mostly plays on the surface, evading the more complex inquiries necessary to give this analysis greater depth. Despite much to commend, there remains an emptiness at the center that mirrors the protagonist’s own life. Perhaps it is intentional, but it remains unfulfilling.

Bugonia makes the disappointing choice to favor ridiculousness over meaning.

In the end, Boys Go to Jupiter may not fully stick the landing, but it’s a bold, vibrant, and unmistakably personal work of animated cinema. It won’t be for everyone, but like any great piece of outsider art, it doesn’t try to be. Glander has created something strange and resonant, a lo-fi lullaby for the anxious and overworked who just want to be a kid again.

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.

Greengrass can conjure up some magic in those final twenty minutes as The Lost Bus, on all levels, feels like it’s in rhythm. Unfortunately, by the time it does, the film is winding down to its inevitable conclusion.

For some, its extremity will be alienating; for others, its audacity will be exhilarating. “Rosebush Pruning” is undeniably well crafted, but as an absurdist comedy, it ultimately feels more provocative than profound.

The Christophers may not be Soderbergh operating at his peak, nor does the film build to a satisfying or impactful conclusion. Regardless, Coel and McKellen make this creative endeavour worthwhile.

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

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

The Blue Trail, despite its many narrative flaws, stands out for a striking visual style and ability to ask uncomfortable questions about aging and autonomy.

Yes, Reminders of Him is very much an ordeal, but not so much because it’s bad. It’s an ordeal because of all the emotional muck these characters have to drag themselves through to get to the other side.