Generally, No Man of God takes a more mature and nuanced look at human evil, rejecting the impulse to glorify or romanticize figures like Bundy, but also reminding audiences that moral corruption manifests in many forms.

The film brings the drama, but it’s never overdone and the performances from the cast elevate the material, adding dimensions to the characters’ lives.

Get Away does a lot with the resources it possesses and isn't hindered by them, delivering a strong story with fun performances. It has a strong future as a cult comedy horror movie.

It’s thoughtful and quietly devastating. In its insistence to buck conventions of the queer drama, though, it inevitably falls into some of the very traps it hopes to avoid, landing somewhere between expectations and the underwhelming pic it flirts with becoming.

As blockbuster experiences go, it's near-enough perfect.

Embedded in its humor is a sense of melancholy that heightens the emotions prevalent throughout the film, surprisingly tugging at our heartstrings.

While I wish the movie's tone and story were a little more even, there's definitely enough here for many to enjoy.

It is better at comedy than it is at horror, but it makes even the mystical scenes laugh-out-loud funny in this thoroughly enjoyable ride.

Grassland might not be revolutionary, but if it's a signal of where the next generation of filmmakers is heading, we're in safe hands.

We are never not an integral part of this couple's evolving understanding of mortality, art, and partnership.

Assisted by franchise veteran Lebo M., Miranda brings his addictive melodies and spry lyricism to the movie and creates a soundtrack that can hold its own against the original.

As much as it might omit details important to the wider historical context, The Penguin Lessons confidently engages with its intended topics, and creates something beautiful and emotional.

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

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

A holiday film full of creativity, family, and fun, Hudlin’s Candy Cane Lane is a Christmas gift worth watching. Led by a talented leading duo, this adventure could be your next guilty pleasure.

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

That's what makes Forbidden Fruits feel both timely and timeless. We rarely leave the inside of the mall, giving the film a claustrophobic feel. The girls use cell phones – it'd be strange if they didn't – but any recognizable social media are absent. It feels like a distinctly modern take on female friendship, but one that owes a great deal to the films that have come before it. And it's lost the sort of optimism that those films often came with.

Though there is one climactic heist the film rests on, there are a couple of mini crime sprees that come in the first act that set the tone for the finale. Combined with an absolute masterclass of an action set piece, Smugglers is a movie with a lot on its mind and expresses it in a very entertaining way.

Kiss of the Spider Woman is entertaining and invites us into its fantasy in a bid to forget reality for a while. And for the two hours I was watching, I did.

No Sudden Move is a tautly-paced noir thriller prepped with a never-ending carousel of twists and betrayals that culminate in a satisfying denouement.

Ma Belle, My Beauty excels in its visual storytelling, which is paired beautifully with a lively acoustic score and talented actors.

Run Sweetheart Run has a fierceness to its story that has to be admired, and paired with Balinska’s committed performance, the horror film is a must-watch.

There's a madcap, kinetic energy to Weapons that is wonderfully displayed in the preponderance of chase scenes in Weapons. We go under table legs and through shared bathrooms. It's like we're kids playing tag, and you don't want to be "it".

All Quiet On The Western Front does not live and die by each round of ammunition, it thrives through personal connections and incredible shots of stunned faces covered in soot.

It’s heartwarming, the occasionally funny moments aren’t shoehorned in, and the story has a solid message that plays into the fact the main characters are sloths.

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.

While it may still pale in comparison to its predecessor, Candyman: Farewell to the Flesh deserves more acclaim.

Equal parts creepy, funny, and impressive, Wendell & Wild (despite being inexplicably rated PG-13) is an ideal watch for the whole family this Halloween.

The dialogue-driven movie is genuinely funny and heartfelt, rarely, if ever, losing its momentum from start to finish. Conners is a confident director, bringing together a story that is personal while touching upon issues women face as they age with grace and care.

Along with its genuine humor and a frank exploration of the different ways queer people live today, Jimpa is an emotional experience that feels authentic in a way that can be difficult to capture.

Once it overcomes its initial storytelling lulls, Sea Fever embarks on a thrilling creature-feature adventure with a message that's all-too-timely.

We Summon The Darkness is a wickedly fun and delightfully devilish thrill ride led by electric performances from Alexandra Daddario and Maddie Hasson.

There is a modest feeling to There There, and the emotional impact of its actual content might display the limits of this extreme methodology, but its (smartly brisk) runtime is hardly too steep a price to see a small movie explore such big questions with such clarity.

A lot happens, story-wise, but if the film had just followed Sylvia and Saul learning how to be around each other, it would've been enough.

It may not push the envelope or be as innovative as other films out right now, but Just Mercy is nevertheless able to captivate the audience and could even inspire people to try to make a difference.

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.

Stanicky is a character to cheer for, and Cena's energy in the role makes Ricky Stanicky an entertaining watch with some surprising depth to it.

The film balances multiple storylines with intense action sequences and, despite pacing issues, packs a major punch that will keep audiences riveted.

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.

Much like its main character, To All the Boys: P.S. I Still Love You is so sweetly, openly earnest in its love of love that it transcends cheesiness and gives viewers permission to indulge in unabashed intimacy and romance for its entire one hour and 40-minute runtime.

Few stones are left unturned in the callbacks to different parts of his career, and those unfamiliar with Shatner's lower-profile roles will get a kick out of seeing him outside his most iconic roles.

Bloody, fun and achingly heartfelt, Spontaneous presents a clever and original story about life, love and how suddenly things can change.

The biggest drawback of Migration is that it doesn't play to its strengths as often as it should.

Piggy (Cerdita in Spanish) has a slow-burn intensity that culminates in a superb ending and, though the film could have had tighter writing and better pacing in places, it’s still a satisfying watch.

Diallo knows how to create a deeply disconcerting atmosphere.

Luckily, Johnson and Penn's compelling dynamic keeps us hanging on, right up until the moment they part. That final beat could've been shorter to make more of an impact, but that doesn't lessen the satisfaction of the journey overall.

Raiff captures how relationships can blossom through connection and how affecting they can be when the two people in question are both trying to take the next steps in their lives but are not quite sure how to do it. To that end, Cha Cha Real Smooth is a triumph in its exploration of its characters, and the honesty it brings to the forefront.

It’s a rousing horror with entrancing lore, an eco thriller with interesting themes, and a hostage drama that banks on gruesome and disorienting actions. Not everything comes together cohesively, but the story has a lot to offer and it’s grounded enough to leave a big and lasting impression.

The film is earnest and full of yearning and intimacy, elevated by the performances of its lead actors who, even in the film’s most abrupt moments, have so much chemistry to keep audiences watching.

There’s Something in the Barn is a horror comedy that seems destined to be a cult classic. It ultimately delivers on its premise and has a whole lot of fun while doing so.

What The Old Guard lacks in well-paced, tightly plotted story, it more than makes up for with compelling characters and slick, thrilling fight scenes.

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.

Froseth and Silvers keep both of their complicated characters and the bond that lies between them grounded, mixing well with the sensual tone Smith has created. Those looking for a sexy, intriguing drama might be happy to call up Birds of Paradise for some nighttime viewing.

Thanks to the intriguing nature of the titular character’s existence, audiences everywhere can expect a thrilling horror feature that capitalizes on the charm and acting of its leads, campy sequences, and fun uses of music. This is the type of film enjoyed best with a crowd.

The movie's atmospheric approach to horror sometimes works against it, but stellar performances from Dan Stevens and Schafer ultimately make it a home run.

Even as it veers into darker thematic territory, Feig's light touch and Seyfried's committed performance add an air of deranged enjoyment that make The Housemaid one of the most fun movies of 2025.

It’s a film like no other that you’ll see this year, and though not everything works, River is a time loop jaunt that isn’t easy to forget, bolstered by fantastic performances and a deep sense of fun.

The Holdovers won’t blow you away in any particular category of filmmaking, but in the capable hands of Payne, every one of these categories is above average, making the overall film equally enjoyable and well-made.

By reflecting the difficulties of life with the hope that comes from one's passion, this film does a great job at emphasizing how, even in the face of insurmountable adversity, passion can triumph over even the toughest of times.

Barthes’ thought-provoking script is backed by phenomenal performances from Clark and Ejiofor. And despite its longer-than-needed runtime, the feature is sure to keep audiences entertained from start to finish.

Those who enjoyed Cavill's Sherlock in Enola Holmes will be especially happy to see him more involved in the story of the sequel, but this remains Brown's franchise. She's become a powerhouse and continues to capitalize on her skill and charm to keep this film series engaging, and viewers will be won over by the better constructed mystery and delightful dynamic between the two Holmes siblings.

While formulaic, Bruised beats the odds by being a fairly entertaining & moving sports drama that has everything one would expect from a Berry film.

Beetlejuice and Delia are deployed just the right amount, each injecting the movie with their own flavor of chaos whenever things risk feeling stale.

Cyrano is a magnetic, musical romance that peels back the layers of its title character in new, exciting ways.

Despite its drawbacks the kids will still love it, it's still epic and entertaining for adults, and the movie still manages to say something inspired and meaningful - even if it takes a little longer to do so.

It's a worthwhile, nostalgic UFO movie with plenty of interesting ideas that made it a strong, impressively passionate watch.

The cast of characters ping-ponging around Sofia's mansion and the surrounding neighborhood feel fresh and funny, the movie consistently delivers both thrills and laughs, and there is an absolutely delectable piano scene that I won't soon forget.

Gordon and Lerman are both in great form, going a long way in carrying the somewhat problematic premise.

Edgar Wright and Glen Powell are consummate entertainers, and they made this dystopian Stephen King movie as fun and guilt-free as they could.

Tyrell goes from gorgeous to viciously reptilian in the blink of an eye in her tour-de-force performance, and the film’s homosexual subplot, though not particularly PC, is an intriguing early instance of gay life depicted in a mainstream film genre.

It may not be laugh-out-loud funny at every turn, but Quiz Lady, with an irresistible cast, is entertaining with just the right amount of heart and energy.

It strikes a good balance between heartfelt and fun, and the cast has great chemistry; their interactions are joyful and dynamic.

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

The Napa Boys is best enjoyed like a California wine road trip: you can be vaguely aware of the territory, but it's more fun to just ride along its peaks and valleys. When the film hits, it really hits.

Love Lies Bleeding is practically guttural, and the emotions that take hold of each character are raw and unfiltered. With action, crime, and romance mingling and building toward an explosive and engaging finale, the film is a thrilling ride from start to finish.

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.

Black Crab is a little long, but the movie is too cool to notice.

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.

Luca is a wonderful coming of age story with a nice message that balances deep emotions and a lot of adventurous fun.

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

It eludes classification, refusing to commit to being one thing and instead asking us to question our relationship with the world around us.

This hopeful and insightful look into the life of such an icon creates an inspiring and beautiful story that stands tall from the beginning until the very end.

Thanks to phenomenal camera work and partnership with cinematographer Alejandro Mejía, In the Summers is elevated by an impressive experience both emotionally and visually.

I'm Thinking of Ending Things is a suitably eerie and creepy psychological thriller that ultimately never comes together as a comprehensible whole.

Thanksgiving is special in the way all good slashers are — it's funny and gruesome, with a trashy B-movie energy and a solid whodunit at the center of it all.

Mona Lisa and The Blood Moon is a tightrope of horror, revenge, and feminism set to awesome music.

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.

Dumb Money is a crowd-pleasing story with great performances and a script that keeps it simple.

Blanchett knows exactly what movie she's in, and she seems to be having the time of her life fitting herself into the mold of a video game heroine.

Weird lives up to its name. It's utterly ridiculous, a satire of biopics in the best way. It exaggerates anything and everything that happens (and doesn't happen) in Yankovic's life to the point of being so over-the-top one can't help but laugh at its absurdity.

1917 is worth checking out on a big screen for its visuals alone (Deakins' next Oscar nomination is all but assured), even though its immersive cinematography can, indeed, have the unintended side effect of making the movie seem like a video game at times. Still, there's a beating heart beneath the machinery that prevents it from being a hollow experience

There's an air of tranquility about it and Spielberg does well to balance a few comedic moments with a whole lot of heart. Even the more dramatic moments are depicted with patience and warmth. It's as if Spielberg is softly wading through his own memories, pulling open the doors to see each one with a lot of light and love in tow.

Handling the Under is not an effective horror movie, but its zombie-drama formula allows for a portrait of pain that settles in and stays like an infection.

It's thanks to this cast that Shirley remains a rousing and emotional tribute to an important figure in American history.

The true story aspect will leave audiences wanting to dig deeper into the two disparate accounts, but even if they don’t, Howard’s Eden is a compulsory watch that does enough to satisfy.

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.

Suncoast is a strong feature debut from Chinn. It’s heartfelt and filled with warmth and messy emotions that are deeply felt.

As Between the Temples reveals more layers to him, Schwartzman deftly uncovers something much deeper. There's grief there, but there's also a profound ability to love without shame and that is perhaps the most revelatory thing of all.