Y2K doesn't want to break stuff; it wants to dig it out of the trash and pine nostalgically for it. That's just not as interesting.

While the action scenes may be the best reason to watch "Striking Rescue," they're not the only ones. There's almost enough off-kilter energy to keep pace with Jaa's on-screen intensity.

"Sujo" is a direct, unvarnished window into the near inescapable pressure of cyclical violence.

As a whole, the film is paced with a bit too much restraint, but, ultimately, "You Are Not Me" is one of the better feel-bad movies of this year's holidays, one that understands that family's embrace may be more suffocating than loving.

Just as Flannigan gives it his all, on the off-chance he may never have this opportunity again, so does Pitt. And that's what makes "Day of the Fight" a sight to see.

Writer-director Mike Leigh is 81 years old, and his movies consistently have a fire that's practically adolescent while imparting a wisdom that's possibly ancient. "Hard Truths" is a tragi-comedy character study of near-febrile vitality. And, entering the sweepstakes rather late in the game, it's one of the very few great films of 2024.

It reminded me of being a child and seeing the original "The Exorcist" and feeling as if I was seeing a documentary record of evil, one that was itself cursed, and that I should not even be looking at, because by looking at it, I ran the risk of releasing that evil into the world.

It also serves up a smorgasbord of explicit homoerotic imagery, surrealism and ambiguity at a time when Western culture seems to be stampeding towards 1950s prurience, fascist-scented literal-mindedness, and corporate self-censorship, "Queer" is a film out of its time in just about every way. That's what's invigorating about it.

Jordan Weiss's feature debut, "Sweethearts," has its charming moments but feels uneven overall.

With "Maria," about the final days of the iconic American-Greek soprano Maria Callas, Larraín turns his "historic women" movies into a near-perfect trilogy, giving us a stunning conclusion to his series.

Rasoulof gets terrific performances from all of his cast, but particularly noteworthy is Sohelia Golestani's work as Najmeh, which captures the woman's subtle, gradual transition from defender of her husband to an ally of her daughters.

Heavier Trip mostly ambles from one formulaic twist to the next, never really straying far from conventional situations or familiar characterizations.

Stiller has become a deeper actor with age, and he's perfect here: you know he has a good soul, because this is a comedy, and not a dark one, but he keeps you guessing.

It looks gorgeous, which may be enough for some viewers, but it's a remarkably thin piece of storytelling, an adventure tale with very little actual adventure, and a musical with very few memorable songs.

By and large, "Dear Santa" feels as if someone took a Diary of a Wimpy Kid book and added some truly weird Satanic mythology.

The Last Republican also mostly elides Kinzinger's positions on various issues, seemingly to make him more palatable here as a Capra-esque hero who is exclusively defined by standing up to corruption, and against a politician that the filmmaker also opposes.

Can a film be too much and not enough at the same time? This is the conundrum of Ridley Scott's "Gladiator II," a movie bursting with just enough spectacle to keep it from being boring but, when you try to get anything out of it thematically, slips through your fingers like the sand in a warrior's hands.

Its narrative clarity makes its fable seem timeless, while innovating and expanding the visual immersion of its medium.

It's no coincidence that outspoken women are often seen as a threat in conservative governments looking to unambiguously establish and advance a patriarchal order. This truth rarely comes into more urgent focus than in Afghan director Sahra Mani's harrowing, Jennifer Lawrence-produced documentary "Bread & Roses," a vital account of present-day Afghanistan under the Taliban.

From Cole's own words and interviews with his friends and loved ones, Peck writes a thorough narrative through the highs and lows of the photographer's life, including details about his childhood in South Africa and many years of homesickness abroad.

An outdoor odyssey that feels like it's fueled by Prime energy drinks and daddy issues, "Whiteout" is grim, grisly, DIY dudebro-horror for guys who thought that Liam Neeson vs. wolves nailbiter "The Grey" wasn't savage enough.

A tepid situation comedy in indie drama drag, "The Black Sea" lacks a sense of urgency beyond a few moments of canned tension between Khalid and Georgi (Stoyo Mirkov), a haughty Bulgarian fisherman.

While [Lawless] only scratches the surface of Moth's traumatic past, "Never Look Away" still stands as a formidable anti-war project.

Pimpinero grazes the chance of becoming a great film but repeatedly lets it slip from its grasp, settling for being just slightly above average.

The personal is political, but in this film that case is made more powerfully with the personal story than the flurry of clips or the theories about history.

In Hong's movies, conversations are battles, and words are weapons used to strike down the neuroses of even the gentlest of combatants. "Traveler's" is no different a battlefield.

Even at its relatively trim 89-minute runtime, "Armor" feels padded.

Some of the voice work elevates what could have been a total disaster, and the legendary Alan Menken drops a couple of entertaining compositions, but it's a largely forgettable venture that families will watch during Thanksgiving break before the Netflix algorithm buries it forever.