Though some may long for a meatier, more dialogue-heavy script, most viewers will appreciate the sumptuous meal offered by Miller's impressive visual storytelling and Taylor-Joy's powerful screen presence.

If cinema does go the way of the dinosaurs someday, it is at least good to know that the limits of its power are still being tested by the likes of Rajamouli, whose work reaches so far outside the frame it seems to magically reach out of the screen itself, into the audience's beating heart.

You can see why Aardman, with their simple stories and rudimentary character designs, would have a hard time standing out next to the more intricate narratives and realistic digital animation of recent Disney and Pixar films. And yet, it's that very combination of simplicity in plotting and stylization that makes A Shaun the Sheep Movie: Farmageddon such a joy to watch.

Ghost Elephants is an almost diaristic documentary, eschewing normal pathways for a more esoteric exploration of survival, science, intuition and mortality.

Soderbergh fans and those looking for a slick thriller should be inclined to check KIMI out when they get a chance.

Twinless is designed to make you squirm, but it's through this discomfort that Sweeney finds humor and heart.

Conclave is not trying to be some treatise on the state of the Catholic Church, nor is it saying anything new about modern religion. It's engrossing nonetheless, and it milks the titular event for every dramatic drop its worth.

Nude Tuesday is incredibly entertaining and, though the central premise starts to wane after a while, the story picks back up as it nears its end.

Bolstered by an incredible cast, the film offers commentary on filmmaking as an art and the lengths the characters will go to outshine each other.

Priscilla is another masterwork from Coppola, a study of a woman in a gilded cage and her journey to freedom with two central performances that will go down as some of the best in Coppola's entire filmography.

From a superhero perspective, Vogt's movie recaptures that sense of primordial awe that many of today's blockbusters have lost touch with, simply by setting themselves in worlds so obviously distant from everyday life. Whatever its impact upon release, The Innocents seems destined to be remembered, and hopefully the industry will find room for more movies just like it.

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

In addition to providing a great script, Russell proves to have an excellent eye in the director's chair. He and cinematographer Pat Scola nicely mix a range of visual styles for their scenes, making particular use of handheld close-ups, putting us right into the emotion of each scene.

Every life is a universe unto itself, and Ricciardi was clearly the kind of unique soul whose spirit enriched everyone around him, but its actually in the margins of this sometimes preening doc that Benna's film really hits its target. When the film rests, it destigmatizes a process that everyone will eventually go through (albeit in a range of ways).

Speak No Evil shows viewers the dangers of not speaking up about discomforts for the sake of politeness, and it’s horrifyingly twisted.

Kontinental '25 is an acerbic film which makes you feel uncomfortable for chuckling your way through it, because by doing so you acknowledge an awkward sense of resonance with the guilty.

While A Different Man attempts to be a thought-provoking work some of the time, it’s not as deep or as profound as it aims to be.

It's a beautiful film that entertains in as much measure as it deconstructs an often untouchable icon, making him seem more human, and thus, more impressive.

Top Gun: Maverick is a rare sequel that is not only better than the original but retroactively makes Top Gun's story altogether deeper.

It's full of fast-talking tech nerds and morally compromised corporate A-holes, it bites off a bit more than it can chew in telling the story of Research in Motion, but it's still a good time, reminiscent of mid-budget dramedies that have all but disappeared in recent years.

It’s compelling and held my attention from start to finish. The amount of times I genuinely gasped is enough to recommend it. It’s the perfect summer horror and one that will keep you on your toes.

Sketch is adventurous and thematically finely-tuned. The chalk explosions of monsters are weirdly delightful, even if the magic system is awkwardly not justified or explained. It isn't just another movie that touts the value of wonder and imagination (a moral I admittedly love), and it's unlike anything else in how it depicts coping and healing.

Birth/Rebirth contains wonderful performances from Ireland and Reyes. But Moss’s directorial debut needs quite a bit more than stunning performances to leave a lasting impression.

It's gripping and effective but doesn't have anything new to say.

There’s no denying this is a film capable of winning audiences of all types with its inherent charm, humor, and nostalgia. For me, however, this was 91 minutes of unfocused, chaotic energy that I did not enjoy. Tonally, the movie is all over the place, while its themes are explored with timid execution.

With such a slow and empty buildup, After Yang often feels as disconnected as most everyone is in the film.

Bolstered by fantastic, memorable performances, Good Luck to You, Leo Grande is an understated, empowering, and charismatic film that does not disappoint.

The movie shows both the best and worst parts of Trachtenberg making two separate Predator movies simultaneously.