Crime simply hasn’t felt this hot, or this exciting, in quite some time.

In its attempt to create extreme good vs. extreme evil characters, California Schemin’ schemes one click too far.

With magnetic leads and Julia Jackman establishing herself as one of the most exciting new voices in British cinema, the film pulses with inventiveness and heart. It’s a fairy tale like no other, boldly queer and unapologetically feminist, a cinematic feast of humor, emotion, and rebellion.

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.

Writer-director Lucía Aleñar Iglesias and star Zoe Stein announce themselves as major talents in the former’s contemplative, moving feature debut - a work that's as patient and impeccably-composed as it is alluring from a plot standpoint.

Though James does her best with what she’s given, this movie doesn’t provide a full and rich look at Wolfe Herd’s life, who is certainly a lot more than just her career achievements (they are immensely impressive, but shouldn’t define her).

The Sun Rises On Us All is, above all, a film of contrasts. Its emotional core and the compelling performances of Xin Zhilei and Zhang Songwen are undeniable, and moments of genuine power shine through. Yet uneven pacing, heavy-handed melodrama, and occasional narrative drift prevent the story from fully resonating.

Leading with sincerity, Hikari makes a moving love letter to the people and places of Tokyo. Brendan Fraser performs with his heart on his sleeve, which lends perfectly to the film’s concept.

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.”

As a whole, Bad Apples occasionally brings some laughs, but it leaves little to ruminate on after. If Ronan and Waller weren’t as good as they are, bringing a dynamic that has some interesting evolutions, then there would be a lot less to present here.

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.

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

Tessa Thompson and Nina Hoss are electrifying and seductive, and you can't take your eyes off them. Nia DaCosta puts her flair all over this retelling.

Jennifer Lopez and Tonatiuh give exceptional, electric performances. The musical sequences are stunning, thanks to thrilling dancing and gorgeously old-fashioned designs.

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.

Charming and truthful, this excellent film about the perils of the gig economy serves as a metaphor for the ruthlessness of the free market at large. Bastien Bouillon gives a terrific, grounded lead performance.

Roofman is another standout film from Cianfrance who continues to pull us in with fascinating character studies and explorations of humanity. Tatum delivers on every level, giving one of his very best performances thus far in his career, and Dunst gives so much through her subtle, emotional work.

With Below the Clouds, Rosi performs an act of preemptive time travel by putting images and voices of a specific time, place, and people onto film. It’s a taxing watch that intentionally tries modern viewers’ patience, which is sure to repel most, but the nobility of Rosi’s intentions is inarguable.

The film’s powerful message will resonate strongly with audiences, and while its conventional nature holds it back from true greatness, it makes the most of its strongest elements.

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.

It wants to speak to the hauntings of history, the burden of Black inheritance, and the strange ways guilt manifests. But the film’s ambition often outpaces its clarity. At its best, it captures the surreal pain of being tethered to a past you never asked for. At its worst, it’s a philosophical fog.

Led by a remarkable Cillian Murphy and featuring a stellar supporting ensemble, "Steve” strikes an empathetic chord by placing mental health concerns at the forefront of discussion.

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.

It’s a touching and moving homage that reminds us of the precious spirit that directs us towards remembering the deep love we have for family, through all its ups and downs.

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.

Making dumb seem clever, and clever seem silly, Matt Johnson and company take their mockumentary shtick to new and dizzying heights, literally.

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.

while there are certainly entertaining moments throughout, Van Sant’s interpretation of this forgotten true crime story is simply not as exciting as it should be – and clearly wants to be.