Last Night in Soho is a stylish and thrilling work from Wright, bolstered by an impressive lead performance from Thomasin McKenzie.

Anchored by Yang's sensitive direction and a Tzi Ma performance teeming with life, Tigertail is romantic, thoughtful, and heartbreaking all at once.

The Long Game doesn’t push itself far enough, but ultimately, it successfully and truthfully tells the story it set out to tell and has fun along the way.

It has some good old-fashioned magic, genuinely pulls at the heart-strings at times, and is occasionally very funny.

Hiding within Stars at Noon is a lean erotic thriller, one where the lack of chemistry between Alwyn and Qualley can be overlooked both because of Denis' directing and the standalone performances of its cast. Unfortunately, the film gets bogged down by pacing issues, hoping to coast on the chemistry of Qualley and Alwyn, but runs out of gas long before danger starts to creep in just past the hour mark.

The story is solid and its characters are fleshed out enough that Girl Happy can be considered a plentiful experience, if not the final remnant of Presley's ambitious vitality in his late 1960s films.

The Monk reunion is a film made for fans of the TV show — it doesn't try to go beyond that, which is ultimately good news.

The talent is abundant on screen and behind the camera, but a flimsy screenplay fails them all.

Face the Music is clearly a passion project for the minds behind Bill & Ted, and it results in a sequel that coasts by on its goofy humor and heart.

Thanks to its charming cast and even-handed blend of laughs and drama, Drunk Bus generally succeeds in putting a fresh spin on its familiar story.

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.