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.

Pulling from personal and vulnerable archives, Birds of War gives voice to the people and gives us a grounded perspective on international conflict.

A near-perfect crowd-pleaser. Thanks to clear, confident direction from Phil Lord & Chris Miller, this soaring adaptation is bursting with creativity. Impressively crafted across the board. Ryan Gosling’s flawless turn is both hilarious and heartbreaking. Both an epic journey to save humanity and an intimate story of friendship.

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.

Just when things begin to feel like they’re leading somewhere, it dissipates in such an inorganic manner.

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.

This film may be more memorable because of its filmmaking, but it’s all sound and fury, amounting to very little. The momentum is lethargic, the characters shallow, and the narrative lacking any sense of intrigue from the romance that is supposed to anchor it.

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.

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.

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.

The film’s refusal to engage with its own material and its franchise’s legacy may not be the only problem with “Scream 7,“but it’s certainly the biggest. For every good element, there’s an equally bad one. The performances are either good (Campbell has always been great as Sidney, but this may be her best performance in the franchise to date) or barely functional (Courtney Cox looks and sounds like she’s sleepwalking through playing Gale Weathers despite getting an all-timer entrance).

Many audiences may shy away from projects like “Late Shift” because its realism is too unsettling, but that’s exactly why it’s necessary in the first place.

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

Yellow Letters is shockingly low-energy, despite the urgency of the situation the characters find themselves in.

As someone who absolutely loves any kind of a crime film, “How To Make A Killing” can be entertaining at times as a morality play wrapped in designer suits and generational spite. It’s juggling a lot more than it needs to, and it never fully synthesizes its most perceptive ideas, but it’s powered by another star performance from Powell, keeping it barely afloat.

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.

All the ingredients for a good movie, or at the very least a fun one, are present in Cold Storge: A charismatic and talented ensemble, a clever story, and an overall sense of playfulness that extends from the effects work to the production design of the 24-hour self-storage facility built over the old government bunker used to contain the fungus. However, that sense of playfulness doesn’t extend to the overall tone, leaving the movie feeling like a wasted opportunity.

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.

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.