With an aching heart, lush visuals, and magnetic acting, Hamnet is undoubtedly one of the best movies of the year and will continue to resonate with audiences for years to come.

Director Kaouther Ben Hania's The Voice of Hind Rajab is a shattering docu-film which utilizes a novel mix of real audio and footage with actors' reconstruction in a Herculean effort to make this profound loss even more immediate. Hers is a utilitarian mission: to embed the audience in the sensory experience of being in a war zone without letting them scroll past or swipe to the next video.

Diaz's previous work is both longer, cheaper and mostly in black and white. Magellan is still long, but by comparison, a breeze; it is also clearly expensive and centers a massive global star in what is essentially a biopic. But Diaz's work is subversive by design, a bait-and-switch as a matter of course.

Killers of the Flower Moon is immeasurably captivating and compelling; it’s chilling and emotional, and I doubt anyone will walk away from the film — especially considering the way its ending is set up — without feeling moved by what they’ve just witnessed.

Blue Heron is the kind of movie that begs to be written about at length. For now, I'll have to be content with assuring you that this is one of the year's best movies. If it comes to a theater near you, don't miss it.

Whether it’s a big, emotional scene or something comparatively more low key, the animation always does a great job of capturing the humanity of the cast and story, making an already great story even better to go through.

A clarion call from across space and time, like a message in a bottle, its very existence is a wild gift.

It's a breathtaking film from a new visionary of the queer indie scene.

Trier captures so much while saying so little and, in many ways, Sentimental Value feels like the film he's been building toward his entire career.

The Brutalist is a colossal achievement, balancing intimacy and scale at every level of craft. At 3 hours, 35 minutes, it asks a lot from its viewers. Every second is well spent.

It's a rich story that forgoes a traditional format, challenging the conventions of the industry. It's progressive, it's unapologetically feminist, and it's unforgettable.

Though its far-reaching ambitions and many stylistic juxtapositions might make it seem like the work of two (or more!) filmmakers, Marty Supreme isn’t just a masterpiece, but feels vividly like a cohesive — and singular — vision.

There is no single frame of this film that isn’t maximizing this story's potential, its wit, humor, or charm. Every moment counts and transforms Turning Red into a visual feast.

This film may want to scare us, but it also strives to make us as observant and inquisitive as its heroine. We become active viewers, learning and making connections that fill the gaps left open in the worldbuilidng.

Thankfully for us, though, a film is not a meal. We can watch The Taste of Things as many times as we'd like.

While dissecting the world’s ridiculous beauty ideals, Fargeat directs her sensational feat with pungent audacity, fearless humor, and dysmorphic body horror.

Resurrection is both testament to the importance of storytelling, as well as the dangers of falling too far within its rabbit hole. But with stories as wrenching and images as evocative as these, why not jump in?

The Zone of Interest is one of the most unsettling movies of the 21st century, stunningly relevant, invasive by design, lodging itself in your head as an unforgettable cinematic experience.

Lord & Miller's film is a remarkable achievement.

Greta Gerwig's Little Women weaves a stunningly heartfelt and achingly honest coming of age story with excellent performances from its entire cast.

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.

The transition of tones is subtle - you don't realize you're watching a horror movie until it's too late.

A true rarity, Send Help feels fresh and unique — so much, in fact, it’s hard to decide whether you want Raimi (or anybody else, for that matter) to make more movies like it, or let it alone, thriving on a far-off island where no one can compromise its singular, idiosyncratic perfection.

The magic of DaCosta's film is that it tells us that, regardless of who you are, what we're all searching for is the same thing: community, and a place to call home.

The animators bring this world to life with expert skill.

Flow makes us think and feel in equal measure.

The finished product has more than justified the cost. From the casting to the costumes to the full-fledged concert performances, Michael lives up to the legendary status of its namesake.

What makes it practically perfect is that it accomplishes everything it sets out to do. It is funny, exciting, beautiful, and all-around meaningful.