A roaring achievement for the first-time feature director, In Flames is an intensely vivid tale of survival. Khan’s humanistic approach towards understanding marginalized women is hauntingly beautiful.

Explorations of sex are a dime a dozen in Hollywood but Thyberg isn’t interested in sex, she is interested in people who are interested in sex. There is no judgment and no fetishizing. (The film even has time for a boner joke.) What more could one ask for in a film such as this?

It’s pretty darn great. It’s goofy, endearing, darkly funny, and incredibly relevant.

Despite some of the movie's flaws, Santosh's cast truly shines, particularly Shahana Goswami in the titular role. Serving as an audience surrogate, Goswami nicely balances the feeling of curiosity and uncertainty as she becomes more embroiled in the case and her job.

The film is so well put together, constructed with such warmth, that it does paper over its own indulgence.

A Chiara is a movie one not only enjoys watching unfold, but sitting with, mulling over, and discussing with friends in the days that follow. Viewers would do well not to let it pass them by.

A true rarity, Send Help feels fresh and unique — so much, in fact, it’s hard to decide whether you want Raimi (or anybody else, for that matter) to make more movies like it, or let it alone, thriving on a far-off island where no one can compromise its singular, idiosyncratic perfection.

A moving and well-acted film, Belfast explores the decisions families make in the wake of devastation and turmoil; it’s Branagh’s best film in years.

Overall I found How to Train Your Dragon to be great fun with a big heart - it drew me (and my daughter) in and we enjoyed it from beginning to end.

Civil War confronts viewers with the brutality of war and the necessity of objective journalism, but the moments of quiet humanity are its strength.

For a directorial debut, Shanks hits it out of the park with his delightfully squirm-worthy horror comedy.

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.

Frida expertly captures the essence of how her life and art intertwined throughout the years.

Bolstered by a fantastic lead performance by Priya Kansara, the film is an entertaining ride, one that is filled with love of sisterhood and energetic chaos.

The Bob's Burgers Movie struggles to keep up the energetic pace set early on, but overall packs in plenty of jokes and musical numbers for a fun time.

The movie tells a tight, contained story, but spends a little too much time sharpening its emotional knives to craft a truly compelling supernatural story. Bring Her Back gets lost in the weeds of its desire to rip your heart out.

The narrative of Monica is scant, but this makes way for a poignant examination of trans identity and loneliness through the lens of one family.

There is a lot to recommend it, including a strong visual sense (especially when it comes to the many scenes that feature single light sources), solid performances (particularly Apte, who commands every second of her screentime, which is essentially every second of the movie), and plenty of kooky moments the likes of which are not going to be seen in any other movie this year.

Led by a stunning Emma Mackey, Emily is a striking depiction of a woman embracing her individuality while crafting an iconic piece of literature.

I do not regret having seen it, and with all there is to recommend it, I feel comfortable suggesting you seek it out upon release. But do so with tempered expectations.

Rebuilding chooses a gentle, deliberate approach to its story, making it all the more powerful in its observations on what it means to find a home and community in places and ways you'd least expect.

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.

When its focus is on Agatha Rousselle’s Alexia and the lack of control she has over her own body, Titane digs a bit deeper. However, the film’s true weakness is in its inability to explore Alexia as a person, keeping things vague while centering the extreme body horror aspects.

Overall, Frozen is another fine addition to the Disney animated feature pantheon, offering a witty and heartfelt princess fairly tale with creative musical elements and some visual panache.

For all its stylized flourishes and raw performances, True History of the Kelly Gang's confused narrative prevents it from fully taking off.

The Monk and the Gun is a true crowd-pleaser, a poignant message wrapped up in a humorous and vibrant tale.

They Cloned Tyrone is funny, well-paced, and just plain cool, and when you think that's all it is, the script digs even deeper.

It is a solid sports biopic that aims to celebrate the cherished memories the Antetokounmpos have and their continued success as a united, happy, and prosperous family.

She Rides Shotgun packs a punch — or, to use one of Nate's lessons for Polly, hits you like a baseball bat to the back of the head. The subplot with the local gang may be forgettable, but the father-daughter relationship will stick with you for a long time.

At its core, The Kid Detective is also just a plain, entertaining mystery - that has a satisfying conclusion both for the case itself and Abe's journey. Anyone interested in the premise or in Brody's performance would do well with giving The Kid Detective a watch.

Combining the delightful and the absurd, Strawberry Mansion is a sweet triumph, an ode to imagination, and a manifesto on the wonders of love.

Bottoms nearly has it all and even where it falls short, it is still far bolder than much of anything released by major studios in the last few years.

Beastie Boys Story makes for a fun exploration of the Beastie Boys' history through the eyes of Ad-Roc and Mike D, but it may not be as comprehensive as some hoped.

Even if it can't quite sustain the highs it reaches early on, On the Count of Three's success relative to its ambition is truly impressive, and those who aren't turned off by its very premise won't regret seeking it out.

What makes it practically perfect is that it accomplishes everything it sets out to do. It is funny, exciting, beautiful, and all-around meaningful.

It's certainly a good family-friendly movie for viewers young and old, but those who have enjoyed Disney Animation's offerings in recent years will find plenty to enjoy. With richly detailed animation, exciting action and a compelling story about trust, Raya and the Last Dragon has all the makings of a modern Disney classic.

A satisfying David vs. Goliath tale of justice, The Burial is the type of film you’d watch for the history lesson, stay for the entertainment, and return to see a wonderful cast let loose in all the best ways imaginable.

The movie is Davidtz's feature debut. What she crafts is something imperfect, but as nuanced as a discussion of this topic from the white perspective can be.

Bolstered by a headstrong performance from Ramsey (who is best known as Lyanna Mormont from Game of Thrones), alongside a fantastic supporting cast, Catherine Called Birdy will be best enjoyed by a younger audience, though it’s still fun enough for viewers of all ages.

The film is endearingly sweet, smart, and funny.

Ambitious, occasionally thrilling, and visually striking, Dune is mostly set up, building out a heartless world that never truly feels complete.

A soft and gentle hug of a film, one that reifies life's most sacred values while retaining the essential mystery behind our most pressing questions.

The Half of It puts a queer YA spin on a classic romance story, but Wu makes it her own - delivering a charming, sweet and altogether heartfelt movie.

Armageddon Time excels at capturing naiveté but under-commits to sharing the truths of racial disparity when it comes to the American dream.

It isn’t an exaggeration to say that Plan B is one of the funniest, most thoughtful films of the year and deserves all the love and attention it gets.

The result is a fun, exciting animation that keeps us hooked throughout. Yes, there is the occasional lull in the story, but it doesn’t linger before picking back up with some new story turn or action sequence.

While showing good potential overall, Kendrick’s directorial debut is hindered by tonal imbalances and poor editing.

As a celebration of love and music, Sylvie's Love is a comforting and sweet movie that, while not breaking ground, is noteworthy in its earnestness.

The film effectively illustrates how hazing is not singularly a university issue.

Suspicion is a compelling mystery that slowly reveals itself layer by layer.

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

The film is a genuine pleasure to watch, especially for fans of either or both of the leading actors.

Joy Ride is the kind of film that will make you laugh and cry in equal measure. Bolstered by a fantastic ensemble cast, the road trip comedy isn’t afraid to get dirty, but it never forgets its heart in the process.

If you're a martial arts/action movie fan in particular, much of the action in the film will leave you very satisfied. There's a prison escape sequence that is jaw-droppingly cool.

Ultimately, the film has some heartfelt moments and themes, and while dark and violent, it is, in the end, an uplifting story about family, legacy, and hope.

Beautiful, moving, and sporting a compelling metaphor for parenthood, Twomey's film is heartfelt in the way that Pixar and Ghibli films are, making it a worthy pick for a family movie night.

In the moment, I thought it was very successful, and quite moving. In retrospect, however, the lens that we're forced to view the film through cheapens what we actually spent most of our time watching. Omaha can't really be seen the same way twice, but it's well worth it for that first viewing experience – and for John Magaro's performance, which will surely be some of the most quietly powerful work of the year.

Dream Scenario is at its best when it’s centering Paul and his inner world, and how his actions and events affect his family.

Will & Harper is a beautiful story of friendship and change, with plenty of laughter along the way.

It’s less challenging and possibly less rewarding but it’s no less fun.

Power Ballad continues Carney's long run of success with yet another charmer. Of course, it's easy to charm when you have Paul Rudd as your center.

Thanks to the movie's skillfully executed and relentless action and a couple of major twists, Kill largely overcomes its few hurdles to be an absolute thrill ride.

While Andrew Garfield gives a driven and kinetic performance as Larson, Tick, Tick… Boom! is messy, missing a distinct spark and emotional depth.

Though it tends to overstay its welcome, She Said takes its time sharing the experiences of women in a way that leaves enough impact to make one want to stand up to the systematic mistreatment of women in their own workplace.

Just in time for the holidays, writers Morgan Evans (Teen Titans Go!) and Jase Ricci have found the perfect balance of heart and hilarity in this cartoon caper.

No part of Utama feels fabricated. The costumes are a part of the environment; the camera work is as simple as it could be, but what is in front of the camera is elevated by a lovely stillness. Alvarez turns Bolivia into a series of portraits and Grisi is the perfect conduit to tell such a specific tale of love and life.

From its compelling topic choice, a star-making lead role, stellar ensemble cast, and crafty execution, Música is a must-see.

A harrowing narrative that contemplates the transition from girlhood to womanhood, Arnold uses magical realism to capture preteen angst with a strong desire for existential freedom.

Though the performances are all very enjoyable, the dialogue pulls down the script. Despite this, however, Karmalink is unique, introspective, and beautifully imperfect.

Scrap is ultimately an unflinching and sensitive portrait of a woman faced with the terrifying uncertainty of rebuilding her life. Though some of the harsher realities of being homeless aren't explored in much depth, and the ending is a touch too neat, Kerr crafts a compelling journey for us to go on, one that should linger after it's over.

Final Destination Bloodlines is a spectacle, a joyride, and easily the funniest iteration in the franchise.

Palm Trees and Power Lines is eerie, provocative, and thought-provoking.

What makes Dossier 137 a fascinating watch is being able to observe a singular character battle all the complexities of morality when it comes to justice, truth, and conflict of interest. Moll doesn’t write Stéphanie with the intent of letting her take the easy way out, which creates some exceptional character study moments.

It’s a harrowing, visceral, poignant biopic that will surely make you shed a tear or two regardless of whether you knew the Von Erich story.

The Tale Of King Crab doesn’t keep one's attention at first, but if the audience can make it past the period piece there is a thought-provoking western on the other end.

Concrete Utopia is one of the best thrillers of the year.

Domont’s feature is occasionally uncomfortable to watch because of how things unravel, but it’s unnerving and utterly heart-pounding in all the best ways. An exceptionally strong feature debut from Domont.

Inside Out 2 leans more towards greatness than redundancy & though it falls short of being one of Pixar's best, it's a worthy addition to the library.

The Fall Guy feels like it comes from an era of films where it was alright to be openly silly, embracing action, romance, and nonsense all in one fell swoop without ever missing a step.

Though Baylin & Coogler’s script gives just enough to not be forgettable, Jordan’s direction seals the deal and provides fulfilling entertainment.

Save for the tiniest of things, Wicked is a worthy screen adaptation of the musical, guaranteed to make viewers feel like they could defy gravity too.

With bi-erasure and transphobia both ballooning, I Wish You All The Best comes with a strong message of hope: that you, too, can be an awkward, flailing teen. That awkwardness is not exclusive to those who fit a traditional mold, and that we all deserve a chance to mess up.

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

Spaceship Earth shines a light on the charismatic people behind Biosphere 2 but emphasizes the importance of climate change, especially today.

What could be a basic struggling artist's journey of self-discovery and inspiration has many nuances and idiosyncrasies, making for a thoroughly off-the-beaten-path narrative that provokes thought despite some minor loose threads.

The World to Come has the ingredients to build a blossoming love story, but the script is thin and far too rigid for the romance to ever fully soar.

The stellar cast, in particular, is reason enough to run to the theater to see Air.

Cameron has said in interviews that sharing directorial credit was his idea, and he repeatedly shows us why. In one pre-show scene, the two of them map out where to place the cameras to best capture a particular part of the performance; in another, Eilish explains to camera what she's after with the show's song-specific color scheme. This concert is a work of art, and Eilish is its director – with this film, Cameron is less striving to create his own art than to capture Eilish's.

Quietly immersive and poignant, Supernova excels as a showcase for leads Tucci and Firth, even when the story can't quite match them.

The filmmaking of Lucy and Desi will not blow anyone away, but the heart will take audiences on an emotional rollercoaster fans of the couple won't soon forget.

Daniel Chong's film isn't perfect, but it reaches such a strange fever pitch of hilarity and political prescience that it demands respect.

It is, ultimately, a film completely uninterested in subtlety. That's both to its credit and to its detriment.

Filled with passion and a performance from Anaïs Demoustier that is equal parts energetic and blisteringly self-aware, Anaïs in Love is hilarious and romantic even if its resolution ultimately falters.

As the film progresses, and Melody continues to find new and innovative ways to express herself and communicate, she finds a new grasp on life, which helps her true personality shine through. This ultimately creates a heartwarming and engaging film that constantly challenges expectations and forces us to assess our own bias.

It's a journey as much defined by tedium as tension, but to paraphrase the assassin, if you can't handle a little boredom, this might not be the film for you.

Thankfully, Covino and Martin never insult our intelligence by over-explanatory dialogue and lectures. Instead, this talented writing duo focuses on what audiences want: human desire and the wild things we’ll do for connection.

Emotionally effective and often quite tender, the film boasts understated, powerful performances from Emilia Jones and Scoot McNairy.

If entertainment is all you're looking for, you'll find it, and you'll even have the fun of debating the accents and VFX as you leave the theater. But there's also a lot more to find beneath its surface pleasures, making it a worthy Christmas capstone for what has been a very good year for adults at the movies.