There are a few decent numbers left. Erivo still makes you feel like she owns this role. But for better or worse, For Good mostly feels like a mere reprise of the first film’s candy-colored cacophony, only with the volume slightly turned down.

Sirāt...is not for everyone. But it is the sort of overwhelming cinematic experience and undeniable work of sound and vision that could be life-changing for those ready to receive it.

You spend a good deal of Keeper forming theories about what’s going on, keenly sifting through clues in the hopes of possible answers. Once everything is revealed, however, you wish you’d gone back that previous ignorance that now seems like a state of bliss. To say that Tatiana Maslany is a saving grace here is obvious, given that she’s rescued a few projects from utter disaster.

While it has its share of highlights...there’s a lot of celebrity malaise and hot air masquerading as insight here.

It’s a tribute to everyday people of another era that walks its own poetic path, content in the knowledge that one unremarkable person’s journey is remarkable enough to deserve such cinematic treatment.

For all of the multiplex-friendly fun Wright’s conjuring with this over-the-top spin on dystopian sci-fi blockbusters, the prevailing feeling here is dread. Most filmmakers would have diluted the grit and genuine sense of moral free-fall. Wright doubles the dosage. Every adrenaline rush comes with a chaser of low rage and simmering despair.

What makes Trier’s movies so rich, so exhilarating, so vital, is the way he and his longtime screenwriter Eskil Vogt pitch these stories somewhere between a saga and an anecdote, fit-to-burst with lifelike textures, details and detours.

Even those who think Die My Love courts indulgence and incoherence to its own detriment — there are times when the movie itself threatens to fall apart and blow up the devices projecting it as collateral damage — will gape in awe at how Lawrence makes them feel this person coming apart at the seams. This mother makes what the star did in the equally provocative Mother seem like child’s play. She’s completely unhinged and loving it.

It’s really a comedic road movie at heart, with as much yuks over a mismatched pair trying to get along as yucks involving the goopy innards of cosmic mastodons. Finally, the Predator cinematic-universe remake of Midnight Run that no one knew they, er, needed?

Nouvelle Vague is as much a testament to being young, idealistic and a cinephile — full of opinions, drunk on your own taste, and madly in love with the movies — as it is a making-of recounting.

The question posed by this impressive, if somewhat overheated take on a theater-canon staple is not, in the end, “What curse is it that makes everything I touch turn ludicrous and mean?” It’s more like: Why kill when you can overkill?

What starts off as a tribute turns into an autopsy of a long marriage as seen by the kids who witnessed the best and worst of it, done with humor, anger, hindsight, and empathy. Then it makes a hard left and examines the way that legacies, even ones with the best intentions, have a way of shaping us and sometimes setting us back and always, always leaving us with lessons to repeat or refute.

Even before an ending designed to avoid resolution and cause moviegoers to stifle screams of “Wait, seriously?” this well-intentioned look at how close we are to the brink of extinction is the cinematic equivalent of an unexploded ordnance. For something so blessed with timeliness and talent, it leaves you feeling like you’re buried in a hovel of disappointment.

You’re never sure which truth is out there, exactly, in Lanthimos’ caustic, chilling, and occasionally chuckle-inducing poke in the eye. You just acknowledge that no one seems to find one we can all agree on.

What Cooper has given audiences here is way more compelling than a live-action greatest-hits compilation.

There’s a whole other movie happening within Good Fortune‘s attempt to Aesop-fable its way to some moral about a modest life being a more fulfilling one even if you’re forced to live in your car. And when Reeves gives you a glimpse of that story, in which someone truly learns that humanity is both painful and blissful in equal measures, and anchors it all with a truly divine turn, well — you feel fortunate that get to witness that.

It’s during this last act that It Was Just an Accident becomes a truly remarkable parable about empathy, mercy, righteousness, regret, and unfulfilled rage.

Portraits of great men given the movie-star treatment usually accentuate the positive. Linklater finds it more interesting to look at a self-sabotaging artist’s greatest misses. It’s a tribute that’s really a cautionary tale.

Ballad of a Small Player truly puts all of it chips on its lead, and while that faith doesn’t make up for a lot of the ridiculous twists and overplayed hands leading up to a climactic streak, it’s still a smart bet.

Some might qualify If I Had Legs I’d Kick You as a comedy, albeit one brimming with barely contained rage, while others might describe as a horror movie. Either way, it’s the kind of film that makes you want to call your own mother and apologize.

It takes a lot of hard work and the perfect alignment of movie stars to make something this god-awful.

It’s a movie that stumbles every so often, overplays its hand numerous time, and relies on an oddball true-story premise and 1000-watt star power to pave over some of the rougher spots. It would also give you its coat if you needed it without asking, and the big takeaway from Roofman, we’d argue, is its emphasis not on sympathy for the “devil” here but a palpable sense of empathy for everyone involved. Given the scarcity of this particular quality today, that’s no small feat.

Look, it’s not like Tron: Ares, the third entry in this film series that now spans four decades, doesn’t have a few things going for it.

As [Murphy] proved in Oppenheimer, his silences can speak volumes, and some of Steve‘s best moments simply involve you watching him think.

Safdie is so determined to keep his film at a low simmer that one occasionally wonders if he’s turned the stove on at all.

Peck has long cratfed impeccable, politically charged fictions, docs, and docudramas, whether it’s his 2000 biopic on Patrice Lumumba or his peerless portrait of James Baldwin (the aforementioned I Am Not a Negro). With this latest magnum opus, the Haitian filmmaker has given us not just an invaluable, iris-out look at our present moment but the scariest movie of 2025 by a wide margin.

It’s the work of a young filmmaker. But it’s also very much the work of a genuine filmmaker, bursting with creativity and refining their vision in real time. To quote another member of this cineaste’s clan: Attention must be paid.

The less enamored of Eleanor the Great you become, however, the more and more thankful you are for the presence of June the Magnificent. There’s a lot of joie de vivre she injects into even the most morose moments, and Squibb knows exactly how to use spoonfuls of sugar to help the regret, the side-eye snark, and the heartache go down. The film’s just good enough. She’s great.