Consequences, choices, love, identity, and paranoia are all at the center of this mesmerizing thriller.

The cast deserves real credit for that, Biscayart especially. His physical expressiveness is truly extraordinary, and without his performance to transition us to the final act, Kill the Jockey doesn't succeed.

Despite a solid performance from the film’s lead and an interesting character arc, Rounding winds up getting a bit lost in all it’s trying to accomplish.

The movie asks a lot of questions and juggles a lot of ideas, most of them good, but key pieces don't stick their landing - undermining the overall impact of what Novak, clearly, intends to say. A missed opportunity, given that "finding your voice" is one idea that Vengeance spends a lot of time exploring.

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.

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

Operation Mincemeat is a solid movie, the only reasonable reactions to which are mild. A small smile and a nod of approval on one end of the spectrum, a tilt of the head and a dismissive shrug on the other.

Carousel is a moving romance in all the ways it isn't romantic.

By the end of Dragon Ball Super: Super Hero, fans will feel both nostalgia and elation for the direction the franchise is going.

The sense of timelessness and the sanctuary (itself a bubble made to burst) add a listlessness to the film that only underscores the constant shifting of the family's foundation. Glasshouse may build to a climax that many can see coming, but that's beside the point. The conclusion plays off what has come before it, feeling like a memory that could have easily been forgotten.

To All the Boys: Always and Forever offers a heart-meltingly sweet, warmly cheerful and charmingly hopeful romance that delivers a much-needed breath of relief amidst this cold and bleak winter.

The film is a combination of great ideas that could have gone a bit further.

As a meat-and-potatoes thriller, Dangerous Animals does get the job done, but if it didn't center Jai Courtney's great serial killer performance, it would have absolutely nothing to recommend it to those who aren't already wholly devoted to watching every single thriller that comes to theaters.

The Good Boss is a pitch-black comedy with a pitch-perfect performance by Bardem, playing prime dartboard fodder for the proletariat.

While the first half of the film struggles, the second half deftly explores the character dynamics in a tender way that makes it well worth the watch.

Twisters is the kind of blockbuster the summer movie season was made for, and it proves sequels don't need to be beholden to what came before.

This breathtaking, funny, and heartwarming tale is creativity and sincere storytelling at its finest.

With sincerity and style, Schrader offers a thoughtful film about life and legacy.

Alice, Darling is a respectful and piercing character study that also serves as an excellent showcase for Kendrick's talents.

It’s the kind of film that not only makes for a great theatrical experience but will also make you want to watch it again immediately afterward to see what you missed the first time.

It's a run-of-the-mill crime drama that doesn't stand out.

Powered by an incredible, devoted performance from Jonathan Majors, Magazine Dreams stumbles in its last act and repeats itself too often, but it is gripping and intense all the same.

Transformers One is simply good storytelling. It offers detail, solid action, and narrative depth that longtime fans will appreciate while being a nice entry point for those who are newer to the world of Transformers.

The result is a beautifully shot and well-acted live-action short story, but one that's missing enough connective tissue, fresh ideas, and time spent between its characters to produce a lasting feature film experience.

The film did not nail it in many regards, but it is a truly entertaining tribute to queer pop and obsessed fandoms. Queens of Drama is, in the end, a delightful hot mess.

After its more interesting first hour, the intimate access gets tiresome, and it's hard to say what is gained by being introduced to the personal lives of the members of a notorious hate group.

At times, it can be bitterly hysterical, with Aster, who also wrote the film, further flexing his comedic muscles after his previous film with Phoenix. On the other hand, Eddington can be almost too on-the-nose, knicking the surface of complex issues but pulling the blade away before it can really draw blood.

The End is a challenging film and the rewards may be minimal, but that it exists at all is a miracle itself.

While the story leaves something to be desired, The Sparrow in the Chimney is a memorable family drama with plenty of layered symbolism that will keep you thinking long after the credits have rolled.

For all its shortcomings, Sharper manages to pull together all of its cons with a finesse that could have easily been bungled in less capable hands. Even if it fails at its greatest con of all — pulling one over on audiences — it still manages to be a taut thriller that feels fully realized.

The First Omen contains the scary elements from the classics and creative upgrades, resulting in a hit for the horror genre and The Omen franchise.

Roberts' film succeeds where much contemporary coverage failed because of how invested it is in the difference between laughing with him, as the audience is taught to do, and laughing at him.

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.

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

The Fantastic Four: First Steps is the MCU getting back to basics - a solid superhero movie, grounded in heart, but with little flashiness.

While Leo isn’t always smooth sailing, an air of authenticity and flashes of greatness make the movie an overall delight.

Unpredictability is Agnes' greatest strength; its genre-hybridity lends a mixed bag of emotions, ultimately emerging as a raw tale about loss.

Last Breath is a gritty, grounded thriller that knows how to keep us hooked. A stellar cast and a story told right keep this film afloat.

A Desert is the scariest movie I've seen all year.

Somewhere between Alien & Aliens — fitting given its place in the timeline — Romulus serves up blockbuster-level action & visceral horror all in one.

The Damned has been made to a high standard. The film is extremely well-crafted; the cast, the period setting, and the eerie and isolated fishing village where the story plays out all help to create a tense and believable story.

MaXXXine may have taken a little longer to hit theaters, but fans of horror can be assured that it is well worth the wait. The best part is that newcomers can enjoy it as a standalone, but watching X and Pearl beforehand exponentially enhances the experience, creating a nearly perfect sequel.

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.

An appropriate mix of levity and devastation, Sitting in Bars with Cake is a heartwarming journey about endless support, friendship, and appreciating life.

Lili Taylor's work here is rather brilliant, as she completely inhabits the soul of Patti, a single mother who is close to giving up on any future. It is a striking work in a great example of independent cinema.

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.

It’s the kind of movie that’s simultaneously a feel-good tear-jerker that’s deeply personal in the themes it tackles.

Perhaps it's fitting that a horror film set around a podcast flits in and out of being engaging, since that's more or less the experience of listening to one, but it doesn't exactly make for a cohesive viewing experience.

Confess, Fletch isn't a ringing endorsement of rebooting projects from the 80s; instead, it is an excellent showcase of Jon Hamm's comedic chops, a well-known skill that has been primarily misused until now.

The setting and the drama of Bonjour Tristesse complement each other, but the finale is incongruous when the premise and the presentation seem to be on different terms. While the movie has a rich personality, it is moderately aimless and should have better established how it wanted to be different from the original.

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.

Warwick Thornton’s feature tests faith and humanity in a way that will leave a lasting impression. It’s the kind of film that requires no stance from us, yet is fully capable of opening hearts and minds from a place of empathy and understanding.

The Queen of My Dreams depicts complicated love amid familial conflicts and an adoration of classic Bollywood cinema.

Pizza Movie is a refreshing delight. The simply titled Hulu comedy knows who its audience is, and it delivers plenty of gross-out gags for them to laugh at. But it also takes its genre's formula and infuses it with a real shot of originality that gives even non-stoner-comedy fans plenty to sink their teeth into.

Elvis seems perfectly content being a glitzy, bejeweled extravaganza, even when the film’s nearly three-hour runtime leaves its energy — which never fully recovers after the first half — waning by the end.

It's a bold swing from the director and, despite it being tonally uneven and a bit messy, Napoleon can be still quite fun.

From a bizarre villain to unexpected musical numbers, Barb and Star Go to Vista Del Mar is egregiously bad, but with splashes of occasional humor.

The problem is one of focus, and had the movie trusted its protagonist enough to let her be the true center, it might have provided a viewing experience worth recommending.

Vivarium is a wonderfully strange and gripping thriller that examines the stresses of homeownership and starting a family, perhaps all-too-soon.

Underneath its weaker spots, Turtles All the Way Down is bolstered by genuine heart and an excellent central performance from Isabela Merced (Madame Web, Instant Family).

Punctuated by heart-aching moments, Stalter’s performance puts her comic star power on full display, reiterating the actor’s excellent comedic timing.

Guardians of the Galaxy Vol. 3 mixes Gunn's usual wacky action and laugh-out-loud humor with a grounded, emotional story to create something special.

ALL YOU NEED IS KILL is not a film that'll have you scratching your head for meaning. It wears its empathy and its plea for life on its sleeve like a badge of honor. Admirable though that is, that directness does translate into threadbare writing.

It's something of a disappointment that the film, as a whole, fails to live up to Byrne's great work in it. But it's certainly not a bad film.

The Beach House has some suitably creepy moments, but it's ultimately hamstrung by an underdeveloped script that fails to connect with the audience.

Despite its fair amount of positives, All Together Now feels both too safe and too distant when it comes to its grittier subject matter.

Its entertaining approach to the history it portrays works to make the movie memorable, resulting in a must-see biopic that's perfect for those who want to learn about women's wrestling history.

While the film has an excellent concept, its overuse of traumatic medical conditions, disorders, botched surgeries, and motherhood makes for a confusing plot that has too many moving parts to retain a cohesive story.

If there is any justice, Door Mouse will garner the attention it deserves for being a well-defined narrative brought to life effectively and efficiently by a talented director whose imagination and creative drive become more evident with each scene.

The movie starts off quickly and provides an in-your-face introduction to the film's intended direction. However, the momentum quickly fizzles out, and the plot begins to meander towards the finish line, taking several unnecessary detours along the way.

Though this film is filled with mystery and murder, what makes it stand out is that it is the first Thin Man film to explore Nick's background. While the previous films typically connected to Nora and her parentage, this is the first that sees where Nick Charles came from.

Gladiator II really soars when it does the unexpected and, for the most part, that only happens when Washington, Quinn, and Hechinger are onscreen. It doesn't make for a well-rounded film, but it does make for an entertaining one. For all its faults (of which there are only a few), Scott is still fully in control of this massive undertaking, letting his contemporary sensibilities bleed into the gravity of the past.

Instead of being the next John Wick, Nobody plays out more as John Wick lite, which could be disappointing for some. It's fun to see Odenkirk try something new at this stage in his career, and Nobody clearly knows what it is and never takes itself too seriously (see: the moments of levity, the soundtrack full of licensed classics). Still, these merits don't truly help elevate the final product beyond fleeting entertainment.

Yorgos Lanthimos’ Kinds of Kindness is a melting pot of anthology narratives that callously spotlight our desperation for affection and acceptance.

The material is not lacking in thematic depth, but how the filmmakers choose to express these themes makes for an inconsistently engaging experience. Dreamin' Wild is sometimes too caught up in its own artfulness, and all that weighted form ends up trapping its ideas rather than giving them heft.

A piercing, explicit, and oftentimes sexy study of one 25-year-old's search for identity in a world that has discouraged him from accepting all of himself unabashedly.

Unwelcome is many things — entertaining is one of them. But with little focus on what actually makes this film worthwhile, the result is disappointing.

The best we can hope for is that Summer of 69 will open the door for more contemporary conversations in coming-of-age movies that aren't afraid to have more fun.

While the movie's sea battles are elegantly staged by cinematographer-turned director Aaron Schneider (helming his second feature here, more than ten years after his acclaimed debut with Get Low), the absence of a compelling character throughline makes it difficult to become emotionally invested in their outcome.

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.

Synchronic is an interesting, if standard, drama that gets by on the strength of Anthony Mackie's performance and a strong third act.

The film presents a bold vision of what movies can and should be and, ultimately, it's a more exhilarating experience to watch a movie of this scale take risks and fall short than it is to see a blockbuster play it safe and deliver mediocre results.

Before We Forget (originally titled Duino) is a refreshingly intimate film and a classic gay yearning story. It has some twists that subvert genre expectations for an even more staggering emotional effect.

Without offering anything particularly interesting or nuanced, The Guilty still has enough to keep audiences engaged and on the edge of their seats.

Chicken Run: Dawn of the Nugget is a blast overall. The performances hark back to the original, and while the sense of humor is not as edgy as it once was, it's still very effective.

What the documentary lacks in depth it makes up for with style, creativity, and entertainment value.

It strips Nyad of her complexities for something a bit too formulaic.

Ash can be horrific and genuinely startling; there’s a specific scene near the end that underscores the apprehension that permeates the film. It’s chilling and memorable. And yet, had the sci-fi thriller given its characters more dimension, it would have been all the stronger.

Though the script fails to follow through on some of its promises, the subtext is there and Elordi, Edgar-Jones, and the rest of the cast give quietly devastating performances as their dreams manifest in ways they cannot predict.

The Electrical Life of Louis Wain is so utterly charming and buoyant that it makes even the frustrating aspects of the film forgivable.

Thankfully, Boon, Graham, and Riseborough do enough to anchor the film and bring it home as it lands on a strangely poignant note both chilling and endearing.

Full of action sequences and an incredibly moving score to pair, this could be the kind of war drama that audiences have been missing. It’s heavy on the violence and anti-war messaging, and contains a beautiful story about survival, humanity, and doing the right thing even when there are countless obstacles in the way.

The film’s characters are human and, while they’re afforded depth and nuance, Ebo isn’t interested in coddling them or excusing Lee-Curtis’ behavior. And it’s in the balanced exploration of characters and religious hypocrisy, the blending of the facetious with the serious that makes the film worth the watch.

First and foremost, this remains a film for the fans. As such, Downton Abbey: A New Era is a triumph. After several tumultuous years, returning to a well-known universe with beloved characters is a balm and anyone who has followed along with the Crawleys will find plenty of enjoyment within the film.

Candy-colored and ebullient, I Want Your Sex is not a bad film, but its hard to think of it positively when we know just how much more effective Araki has been behind the camera. The film is just never sure of what it is.

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.

Bolstered by a thoughtful script and beautifully authentic performances, Banana Split provides a fresh take on the coming-of-age romantic comedy.

Your Monster is a magical movie experience you do not want to miss. A nice blend of levity and drama, Lindy’s debut assertively makes its mark on the genre.