Through the period and genre trappings of a 1970s heist film, Reichardt explores the inherent isolation of staying neutral at a time of ballooning cultural and political unrest.

While the film may thematically point to real-world struggles in the United States, The Twits is mostly an accessible story about the power of empathy in the face of naked evil, all to the tune of about a thousand fart jokes.

If anything, She Loved Blossoms More isn’t weird enough, holding out on exploring what’s beyond the time machine, which is the most compelling aspect of the film.

At its best, Mr. K is like being immersed in Hieronymous Bosch's Garden of Earthly Delights. More often, however, it's like living inside a trash heap.

Petsch and Scipio are both extremely attractive and breezy performers, but, the film is as sputtery as an old car on the fritz, failing to update its cinematic lineage in any conceivably positive way.

Through the amazing array of talking heads Hanks assembles to share their relationship to Candy, we are left with the distinct impression that there just wasn't anyone else like John. A grand man indeed, in a grand documentary to suit him.

This is classic B-movie creature-feature stuff.

From the opening scenes, The Woman in Cabin 10 hooks us and doesn’t let go.

If you think you know Ozzy Osbourne, you won't get the complete picture without watching this essential portrait of the rock n' roll god.

The movie possesses reams of intriguing ideas, but instead reheats much of Legacy's plot and then busies itself with semi-incomprehensible set pieces.

Bigelow's film, disconnected as it is from the very people this type of situation would actually harm, is a futile salute towards hope, which unfairly assumes powerful people's positive intentions, underscored here by largely cookie-cutter characters and a lack of complexity.

It is the type of film that asks for a deeper engagement than it is willing to offer, but Hadžihalilović may just be pulling us into her conception of image-making as a process of self-actualization. If that is the case, the film does well to break from Andersen's tragic tale for something a bit more existential.

With good pacing, writing, and a stellar cast, Barker has crafted a directorial horror debut that is deliciously dark, absurd, and eerie.

Thompson and Greer really are extraordinary, however, and their tête-à-tête nearly saves Kirk's enterprise from the doldrums.

There’s an emotional resonance that permeates the film and fills your heart with an ache so strong that it’s difficult to walk away without being affected.

Ultimately, it is a gorgeous film that's empty inside despite all of its interesting ideas and good intentions.

Xeno doesn't make any gross missteps, but it doesn't have the juice to stand the test of time.

Fuze may not reinvent the wheel, but sometimes all you need is a solid thriller with a hot cast to really give a film the oomph it needs.

What the film does exceedingly well is make us see the inherent irony of moderating online violence to the exclusion of the real-life violence in front of our faces.

In the end, Waltzing with Brando will leave you with more questions about the man than you probably had going into it, which would be interesting enough if Fishman leaned harder into the murky waters of this particular celebrity's mythology. But, like the land upon which Judge tries to build an island escape, the film is in a constant state of drowning under its own ambition.

I can't deny Krawchuk has absolutely improved on some of his missteps from the first film, but in his apparent effort to pull from the success of Terrifier 2, he learned the wrong lessons regarding mythology pacing and crafting a compelling final girl, making this slasher sequel another learning experience rather than a celebration.

Something only Aztec Batman: Clash of Empires could do is explore the important role that gods play in the story. Yohualli Coatl is the chosen figure of the Aztec bat god Tzinacan. The inclusion of the gods and that mystic origin of the Dark Knight make this story distinct, mysterious, and a treat to slowly unravel.

Unlike the comedy, Ungar does know how to shoot action decently well, and it's in those scenes when the film momentarily comes alive.

That the film is so admirably sex-positive, especially as it is from the too-often silenced perspective of female pleasure, makes it all the more refreshing.

Tipping and his co-writers have a lot of great ideas and thought-provoking commentary about the way we treat athletes, but the lead-up to an admittedly explosive conclusion doesn’t land. Wayans and the score seem to be doing most of the tension-building. It’s a shame the rest of the film couldn’t rise to the same level.

Driver's Ed hardly reinvents the wheel when it comes to the YA world, and it's far from perfect. Still, with its string of solid laughs and a very game cast, it makes for an entertaining adventure that goes down easy.

A battle cry of uncompromising political ideals, One Battle After Another is amongst Paul Thomas Anderson's most forceful work.

A rousing story about finding someone and falling in love this is not — nor does it truly contend with the need for human connection very well.

Tuner is a small film, but one that will leave a big impact. It truly is one of the most delightful surprises of the fall and deserves to be seen on a big screen with the loudest sound possible. Here's hoping it gets that chance.

Messy, strange, and somewhat baffling, Gavras’ film is chaos personified. For this sometimes funny film, I wish that were a good thing.

Poetic License has a classic sort of feel that makes it a very enjoyable watch. It keeps a good pace, mixes the heart with the hilarious, and spotlights an incredible collection of performers.

With an exceptional performance from Ahmed and style meets substance storytelling, Hamlet is a journey worth taking.

Filled with heartfelt moments and hardships amidst Grace’s growing young adulthood pains, Levack’s film plays like a new music album that is familiar yet exciting.

What makes Carolina Caroline so magical is the way it transcends its clichés to tell an engrossing story.

It's the kind of eccentric true story that seems tailor-made for a movie, and McAvoy brings it to life with plenty of high-spirited energy.

The Christophers trusts its two leads and their characters to guide the audience to its desired conclusion, and watching it unfurl is a rewarding experience.

With an aching heart, lush visuals, and magnetic acting, Hamnet is undoubtedly one of the best movies of the year and will continue to resonate with audiences for years to come.

The biggest selling point is Squibb. With a mischievous twinkle in her eye, she shoots off wisecracks and plenty of grandmotherly affection, and you almost wish you could be friends with Eleanor too.

Its best moments aren't in the octagon — they're in the quiet moments when Johnson's Kerr is talking to an interviewer backstage or when Dawn and Mark are exchanging barbs in between affections in their cozy Arizona home.

By the time the film turns off autopilot, it's far too late, and the ending lands with the dull thud of a long-rotted body wrapped in an old rug.

All told, Swiped is a conventional, even hopeful biopic. Lily James is great in the lead role.

With a strong, character-focused story and interesting, symbolic elements that tie into its fearful moments, the movie offers a balancing act of commentary about the struggle of dreams.

Wrapped together by an entertaining story and a compelling lead, the movie is smart, interesting, and honest about its core subjects.

DaCosta makes some key changes to the ending of this story that slightly undermine its more subversive inclinations, but that doesn't make the film any less effective. Her confident direction and Sean Bobbitt's lush cinematography make Hedda an electrifying adaptation that relishes the chaos as much as its characters, even as blood, bullets, and booze continue to fly.

Eternity isn’t a bad rom-com; it’s charming and wildly entertaining for the most part, but by skirting a conventional narrative to be more creative, the story loses some of its effectiveness in the process.

The film is genuinely funny, and the cast is up to the task as the story balances impending consequences for Maria’s actions and gasp-inducing comedic satire.

Even with its flaws, it’s largely an entertaining film with plenty of humor and a story that truly must be seen to be believed.

Ansari has brought his familiar comedic charm to a solid, original story, and the end result is an all-around good time.

Rental Family is practically poetic in its handling of its themes. It gets to the root of human emotions and how they’re affected by the world around us and the decisions made by others. It’s a heartwarming film that asks thoughtful questions, and I promise you won’t be disappointed by its answers.

As a character study, Blue Moon is imperfect, but its smart framing of a pivotal moment in Hart's life elevates it.

Just when it feels like it's going to hit the gas, The Wizard of the Kremlin holds back, all the way up to its confounding, out-of-left-field ending that is both abrupt and fittingly bleak.

Its focus may have needed some more fine-tuning, but Steve proves meaningful regardless.

It’s bleak and hysterical and violent — everything you’d want from a Park film. But it’s also devastatingly intimate and intensely relevant, both in the ways it tackles questions of identity and our place within an increasingly dangerous system, one that could feasibly lead people to murder.

Despite its pitfalls, Wake Up Dead Man is still enjoyable. It has its charming moments, there’s a lot to think about in terms of the story, and the cast is good, if not great, overall. It’s just hard to watch the movie and realize the mystery and excitement have waned.

Rather than being a well-rounded look at Martin's life, Christy offers a shallow, unbalanced perspective. It's light on its feet in some parts and heavy-handed in others, and though Sweeney gives a strong performance, I can't help but feel like she deserved a better showcase for her talents.

A great cast and patience will prove only somewhat rewarding, even if the journey to get there is shaky and more than a bit confusing.

There are certainly lulls throughout, and the story needed some tightening. But what it lacks is more than made up with a great cast, distressing moments, and some well-shot action.

Ultimately, Dead Man’s Wire succeeds as a comedy but often falters in its deeper social commentary. Though it lacks the critical bite that could make it one of Van Sant’s best, it sits comfortably among his most entertaining.

This movie is as close to a perfect ending as the franchise could get.

In its own way, Griffin's experience is universal, but Griffin in Summer finds specificity in its amusingly abrasive central character.

It’s rare for a final film in a horror franchise to deliver character development, a chilling story, and a satisfying ending for the characters. The Conjuring: Last Rites does all three. As a farewell to the Warrens, Chaves balances the terrifying with the heartfelt to great effect.

With a core duo that's captivating to watch and a sweet love story that tugs at the heartstrings at times, The Baltimorons is a stellar holiday-themed story that's perfect for any time of the year. A beautiful movie with passion in every scene, this film deserves to go down as the best romantic comedy of 2025.

Ultimately, The Long Walk is a terrific, entertaining film with some interesting things to say about the state of the world. They're not all fully articulated, but I’ll always prefer a film that advances cautiously in the right direction rather than one that hits the ground running without knowing where it’s going.

[Elordi] and Isaac's fierce onscreen chemistry is more than enough to keep Frankenstein electrifying even when the story is stalling.

It's a B-movie that completely understands what it is, and even if it doesn't get a wide release, it's destined to be a cult classic for both horror and war movie fans.

While it may not be the most refined example of its genre, it's really hard not to fall in love with A Little Prayer. Both in the script and performances, the characters feel thoroughly well-realized, the themes at the heart of the story are universal and tackled deftly, and MacLachlan's direction creates a richly tender visual palette.

While Seyfried’s performance and Fastvold’s direction are almost without fault, there are several moments where the screenplay touches on some fascinating ideas but then never returns to them again.

Ultimately, Jay Kelly is a very moving, sentimental film that succeeds effortlessly at telling a great story, but whose attempts to go thematically deeper often feel repetitive.

While After the Hunt succeeds at the first, it’s the screenplay’s lingering indecision that ultimately lets the story down.

Bugonia will make you laugh, squirm, and gasp in equal measures, but the film always feels in control of which of these emotions it wants you to feel at any particular moment. Lanthimos is a master of creating atmosphere, and Bugonia really feels like he’s at the top of his game.

Caught Stealing is a refreshing addition to Aronofsky’s filmography. It’s deliberately funny and macabre, but it asks us to take it seriously.

With such incredible performers as Colman and Cumberbatch at the center of it all, though, it's easy to have a blast. You'll want them to break up just as much as you want them to make up, and that is the most impressive thing of all.

The haunted object formula actually has some proper stakes, while the imagery proves memorable enough. Yet its clumsy story, bizarre character choices, and awful dubbing turn it into a truly messy affai

Trust is a disappointing and lackluster attempt at exploring a tense and important issue.

In addition to providing a great script, Russell proves to have an excellent eye in the director's chair. He and cinematographer Pat Scola nicely mix a range of visual styles for their scenes, making particular use of handheld close-ups, putting us right into the emotion of each scene.

It’s got everything — tense chase sequences, anxious and wary phone calls, and heart-to-hearts between Sarah and Ash that underscore their characters’ need for true connection. There have been so few exceptional thrillers in recent years, but Relay is certainly one of them.

Year of the Fox is a movie far too marred by its narrative missteps to fully embrace its better parts. The dialogue becomes increasingly predictable and mind-numbing, which makes for a very misguided effort.

I would love to spend more time with this ensemble. While the story deviations can prove a bit frustrating, the movie is its own thing, and I suspect it'll be a crowd-pleaser.

It's a fresh and exciting take on a familiar storyline, with bouts of tension and energy. It raises the bar for crime thrillers thanks to the incredible cast and performances throughout. Eenie Meanie has something for everyone, with a thoroughly satisfying conclusion that stays with you hours after the credits roll.

Under Fire is a little rough around the edges, and the story is not unique, but the performers make it special and elevate the material.

The film's first act makes you think the Japanese forces trying to stop Godzilla will eventually thin out and reveal someone the movie will focus on. But that doesn't happen, and the result is a film without an onscreen focal point.

Even a joyfully queer reimagining of the genre’s classically hard-boiled protagonists fails to inject enough new energy to maintain consistent intrigue, prompting viewers to seek a resolution to the central mystery well before its comparatively short 89-minute running time elapses.

It’s not particularly memorable, but it also has its moments, elevated by the chemistry between Madelyn Cline and Riverdale’s KJ Apa.

Despite its flaws, East of Wall is ultimately an incredibly gripping narrative.

Sketch is adventurous and thematically finely-tuned. The chalk explosions of monsters are weirdly delightful, even if the magic system is awkwardly not justified or explained. It isn't just another movie that touts the value of wonder and imagination (a moral I admittedly love), and it's unlike anything else in how it depicts coping and healing.

Red Sonja falls short of expectations from beginning to end; it only succeeds in following in the footsteps of the 1985 flop.

Fixed is fun while it lasts, more so than you might expect going in. Its most lasting effect on me might be a longing for more traditional, hand-drawn, 2D animation from our major studios, and anyone who might feel similarly shouldn't let this movie pass them by.

Nobody 2's themes could’ve been better explored, but it’s easy to overlook that and enjoy the fun, action-packed ride.

While Birthrite had some flaws throughout, Partridge knocked it out of the park in the third act, leaving things on a strong note.

Site is a movie that's made up of a solid foundation with an interesting concept, ambitious direction, and a talented cast that can't find a way to maintain its better efforts along the way.

The film may be a simple story of survival on the surface, but the deeper layers offer universal messages that are potent and powerful. Even with its pacing issues, this movie is a strong look at the nature of grief, while showcasing important themes in very meaningful ways.

Pieces of exposition and backstory are dropped sparingly throughout Animale. While this is a strength, the movie could've done with a little more exploration of Nejma's past and relationship with her mother.

In a world that can have very black and white storytelling, What We Hide lives in the gray, dominating that space with ease and fluidity. What We Hide deserves to get its time in the light.

The themes end up both flagrantly obvious and obscured. On the one hand, the dialogue spells things out. On the other hand, broad martial arts sequences and goofy costumes detract from any nuance Zenithal could have conveyed. For those who want 80 minutes of overwrought crude jokes, this movie will not disappoint.

As the stakes rise alongside the body count, Canning nicely captures Candice's struggle between her enduring faith and doing anything to protect her son, giving us just enough of an emotional center to overcome the film's familiarity.

Although its shoddy attempts at horror are more immersion-breaking than intended, Strange Harvest is still a monument to how well the true crime genre can be employed for fictional storytelling.

It may not reach the heights of other great dysfunctional family indies, but the characters are at least engaging enough to watch that the movie isn't a waste of time.

The documentary doesn't know who Jeff Buckley was. However, it might expose what we are desperate to get from him, long past the time he has anything left to give.