Fortunately, Paddington in Peru retains much of what made the preceding two films such triumphs. The cheeky, whimsical humor is still here, and the childlike consideration of the world as a colorful place with endless potential for friendship and adventure remains intact.

Robinson is so eager to please that she’s a little too on-the-nose sometimes; she’s definitely not subtle. But that’s okay, too, because she allows us to spend time with these people, and smart, flawed, lovable people, as they try to peel apart the layers of their lives and then reconstruct themselves.

A story about drug addiction, corrupt authorities, and environmental collapse sounds grim on paper and plays grim on screen, but Unicorn Wars is more than “grim.” It’s deranged.

M3GAN’s most impressive feat, at the end of the day, is that it gives us cinematic sickos exactly what we want without sacrificing greatness in the process. And yes, what we want is a breakdancing, murderous doll. Is that such a crime?

Caterpillar is a stunning piece of documentary work, both for its incredible degree of access to both its central character and his journey, and its unconventional style of presentation, which skirts the boundaries of documentary and narrative feature.

[A] triumphant narrative feature debut.

Ultimately, the ambiguousness of the conclusion can’t really dim the engrossing and nigh-mystical sense of enrapturement that Meanwhile on Earth can project when it’s really firing on all cylinders.

Part of Pig’s impactful, moving charm is its restraint. It’s a world only hinted at in 87 minutes, but with a satisfying emotional thoroughness.

The film’s rock-solid survival story is enhanced by its charming ensemble and striking, elegant environment.

If you’re blessed with matching taste, where you’ll put up with a bunch of over-literal, stiff-backed oddballs dealing with a clone crisis, you’ll find a rewarding and gut-busting film that’s lingering ideas are nearly as strong as its humorous, thoughtful construction.

Leo proved to be a perfect, lighthearted watch on a rainy evening that left us with a feeling of bonhomie before switching off the lights for the night.

The newest Marvel blockbuster-to-be boasts an array of well-cast leads and supporting characters; a crisply paced, sensible plot; and above-average dialogue. Even more importantly, every scene and every character interaction prove that the movie’s creative team truly understands the core appeal of Cap himself—the tone of not just the character, but the comic book series from which he springs.

Everything on screen is stupendous. This is what we want, to watch John Wick murder the whole world, forever and ever amen.

Burns conjures horror so vivid and tactile that at any time it feels like it might leap off of the screen and into our own imaginations or, worse, our own lives.

If I Had Legs I’d Kick You is rife with chaos—a patient mysteriously vanishes, a rodent goes violently rogue, a tibia abruptly breaks through flesh—yet the film’s central fascination lies in the crushing call of the void.

The funny and worthwhile film, directed by Maureen Bharoocha, is a centralization of both female friendship and the glory of arm wrestling that contains the witty repartee and quarter-life crisis meditations of fellow indie comedies like Save Yourselves! and The Boy Downstairs.

It’s a movie by a Black woman about a Black woman (that barely, blessedly avoided being directed by James Franco) that doesn’t just capture a nuanced and specific experience, but the rollicking and resonant digital audience that initially embraced it.

Last Night in Soho culminates as a chic and dynamic expression of Edgar Wright at the height of his powers.

It will especially appeal to the sensitive kids (and adults) in your life, and it most definitely meets the high standards Cartoon Saloon continues to make in the medium.

The story unravels at a steady clip, inviting more voices and frenetic emotions with every furtive location change, the possibility of righteous violence looking more likely and less inevitable at any given moment.

Penned by David Koepp, who previously wrote Soderbergh’s tight and thrilling chamber piece Kimi, Presence is a darkly comic and slow-burn genre film that presents as both a haunted house tale and an exploration of a strained family dynamic—shown entirely through the perspective of its ghost.

Strawberry Mansion boldly depicts our society’s obsession with bureaucracy and profit in order to dismantle the tandem threat of boredom and violence that ascribing to these social structures entails.

This film is basically 100% about message, and that message is a dire one. There are probably people who will accuse this film of propagandizing or sensationalizing or exaggerating, but from what I can tell, that’s not particularly the case.

The Summit of the Gods’ complex storytelling and convincingly lovely vistas make its philosophical case well: Whether you’re risking it all to get to a peak, to get to the bottom of a mystery, or to create a painstaking piece of animation, you’re lucky enough to have something you love.

Wiseman’s top-down approach to looking at government is both effective at sketching out the priorities of those in charge as well as demonstrating what they’re actually able to execute.

Challengers surprised me. It’s a grandiose, propulsive, erotic follow-up to the dull, Tumblr-core emo of Bones and All, and I found myself enthralled by Guadagnino’s latest, in which three of our hottest young actors convincingly, tantalizingly explore alternating dynamics of power and sexuality

Precisely crafted and just odd enough to disarm you, allowing its evil to fully seep in, Longlegs is a riveting tale of influence and immersion.

It’s easy to feel as lost or overwhelmed by the flashing lights and exhilarating sights as the central family fighting on one side of the title’s grudge match, but it’s equally easy to come away with the exhausted glee of a long, weary theme park outing’s aftermath.