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.