Leviticus announces Adrian Chiarella as a filmmaker of remarkable confidence and control. It's a horror film that trusts its audience, trusts its characters, and trusts the power of what remains unseen. In doing so, it becomes one of the year's most unsettling — and impressive — genre debuts.

Toy Story 5 is a movie for everyone. But if you're feeling down, if the world seems overwhelmingly bleak, or if you just need a reminder that your heart can still be touched, then forget the chores and see it.

Disclosure Day weaves these ideas and more into what seems to be a straightforward action film with some sci-fi elements. And given that this is Steven Spielberg, he doesn't give us answers but leaves us with some hopeful things to contemplate.

The lesson Another World offers is that tenacity is a virtue, but only when your goal is attainable.

The Furious is two hours of exactly the martial arts mayhem you were hoping it would be.

Office Romance is wonderfully cast down to the cameos but so filled with bits and pieces aiming to amuse that almost from the get-go, it feels artificial enough to remind us that we’re watching a movie that’s trying hard to please.

In the end, writer-director Adam Carter Rehmeier’s Carolina Caroline — the odd title a play on the protagonist’s name and the state that magnetically draws her toward it — succeeds in blending the buoyancy of a road movie with the urgency of a crime caper, propelled by a pair of attractive bandits having a blast, at least initially.

If you expect the best from everyone involved, prepare for disappointment. But without giving anything away, it’s fair to say Power Ballad is a mix of feel-good, then feel-bad, then mostly feel good again. That’s a recipe for a pretty good popcorn movie, even if you can’t dance to it.

Affection remains intriguing throughout, and often admirable in its ambition, but it never quite trusts the very themes that make it worth caring about in the first place.

It’s a winning film. Plenty of ‘80s vibes but a lot of fun to be seen and shared with multiple generations of viewers.

That the film is gripping even though audiences already know the outcome of the main event speaks to Maras’ tight direction and the strength of his screenplay with Haig.

Tuner is a distinctly urban romantic fable and tragedy, with a final act that is half-full or half-empty depending on your expectations of how a movie should finish. What’s clear is that Niki is an atypical protagonist, played by an actor who is up to the challenge.

While it’s a welcome change of pace to have the psycho in a big-screen off-road horror story not turn out to be a local yokel, Passenger doesn’t replace that trope with anything convincing, or even scary.

A definite crowd-pleaser for Star Wars fans and fans of the Mandalorian TV series. The Mandalorian and Grogu delivers exactly what it promises ... with some well-pulled heartstrings in all the right places.

By the end, Obsession proves itself far smarter, crueler, and more emotionally devastating than its straightforward title initially suggests.

Enyedi and master cinematographer Gergely Pálos bring us a triptych of tales in three separate time frames, employing individual cinematic formats for each.

Neither exactly a horror movie nor a costume drama, Mārama stakes out its original narrative ground as a kind of cathartic pageant or imaginary exorcism of history’s ghosts.

The new Netflix documentary Marty, Life Is Short is a portrait of the man and the artist, that prioritizes heart and affection and doesn't pretend otherwise. And it’s not just affection for the film’s subject.

The Wizard of the Kremlin is one of those rare dramatized histories that seamlessly blends facts with fiction.

From a story point of view, Omaha is a slight film but one that punches way above its weight.

From the first act straight through to the third, the film engages on a level far higher than it needs to. Which is what happens when you put real craft behind a premise that could have coasted on novelty.

If Hokum proves anything, it’s that McCarthy isn’t just part of this new wave of horror filmmakers—he’s carving out his own narrow corridor within it. A place where folklore, psychology, and just enough chemical suggestion collide.

While it’s fun to see the characters back in action, The Devil Wears Prada 2 is overstuffed and meanders. The film also suffers from self-consciousness. Too many celebrities show up in ways that feel pointless, turning TDWP2 into self-congratulatory mush.

Harlin has had a long and uneven career leading up to this. Though he isn’t quite old enough to have tackled Deep Water back in 1979, he did make Cliffhanger and Die Hard 2 in the 1990s, and this feels like a kind of spiritual successor to those star-driven action movies.

It’s difficult to assess what’s more compelling in this story: the characters, real Canadian salt-of-the-earth people who were that desperate enough to go through with the scheme, or the actual simplicity and near-success of the scheme itself.

Zweig’s hope is that his film helps give people permission to talk. Participants describe the decision-making involved in whether or not to disclose a loved one’s suicide — they don’t mind talking about it, but it can make other people uncomfortable. As one man says about his loss, “As hard as it is, please ask me about it.” Zweig asked. The result is a lean, unfussy, and very human documentary. May we all have Zweig’s courage.

It would have been a nice touch to have Switzer, Watt-Cloutier, and Farmer meet and interact. If nothing else, it might have given Tough Old Broads a connectivity beyond three fascinating stories, separately told.

Is this about forgiveness as a pathway to love? Lowery doesn’t sew it up for us in a neat package or give us the answers, but I have no doubt that anyone who resonates with the film will come away with thoughts of their own.