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.

Shuffle is a solid primer for a massive subject, and Flaherty's approach is a maddening introduction to a world that needs massive reform.

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.

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.

Altogether, People We Meet On Vacation is a wildly entertaining and heartwarming romantic comedy that's perfect for fans of the genre, those who've read Henry's original novel and anyone looking for a date night movie as we head into Valentine's Day season.

Greenland 2 manages to put itself in a league of its own, proving that, not only can disaster movies avoid being totally nonsensical, but also, there can be something that comes after—and that exploration of what's next can be just as good as what came before.

Overall, the pulpier and the dumber it gets, Primate provides a pretty good reason to get to the theater in January. And, it gets pretty pulpy and dumb indeed.

When Ma focuses on the grounded journey of Sara's fish-out-of-water story and the genuine chemistry between her and Sam, the film sings.

With Holland and Mara, the commitment to The Dutchman is apparent and though its ending feels as if things are wrapped up a bit too cleanly, the film succeeds in being an unnerving odyssey over one New York night.

Ignore the publicity bluster, and you'll find at the core of Song Sung Blue the same modest dream to entertain that drives the Sardinas. Is it one of the best films of the year? Certainly not. But a good time at the movies? You betcha.

It's far from a poorly-constructed movie, but the tonal issues and refusal to invest in its strongest personalities make it a frustrating watch.

Thanks to Liu as both performer and producer, Rosemead not only earns its place among those films’ superlative ranks, but achieves a surprisingly powerful balance between intimate cultural authenticity and urgent, universal relevance.

Its sometimes rushed pacing and overstuffed arcs often work against the meaningful messages at the core of the story, particularly the ending, but with enough charming moments and soulful performances from its cast, particularly Bacon and Sedgwick, it really toes the line between being a must-watch and an acceptable skip.

There’s a real thematic depth to each chapter, and the stories are relatable enough to never be boring, but Jarmusch’s insistence on writing three separate narratives about the same concept is a major misstep.

Anaconda aims to be Bowfinger for a new generation but ends up feeling as insipid as the film it is loosely based on. Its target audience is people nostalgic for the salad days of studio blockbusters, who are righteously frustrated with executives for cashing in on material they don't understand.

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.

Thrilling and sumptuous, James Cameron’s latest chapter in this ongoing saga is probably the best one to date, with painstaking world-building, sweeping action and stunning imagery. It also feels too often like a remake of its predecessor, with characters, conflicts and plot developments that even the most devoted fans may find repetitive.

Hersh and Poitras fit together like hand in glove. Exceptional warriors for absolute truth and justice, both have made careers out of exposing systemic abuses of power in ways that have often made them enemies of the state - and yet, both have been granted unusual access to the truth.

Through form and function, Abbas demonstrates the ironic and contradictory nature of his very enterprise, as the temporal fixity of the photograph clashes with the persistent movement of a migrant constantly pulled in multiple directions.

Despite this being a film billed as "samurai versus cannibals," it is actually at its best before the fighting begins.

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?

Serious People doesn't deal in cynicism. Its quiet ending wraps things up too tidily, but there's a strange sort of optimism to its idiocy that is quite endearing.

It would be unfair to assign blame to any one performance, or even to Winslet's direction, when the script is the obvious culprit. Story or character hurdles are thrown up and surmounted with the same neatness, sapping them of their impact. The movie becomes so certain of its footing that the two-hour runtime starts to feel like a chore.

Ultimately, there are few filmmakers whose work I admire more for its sophistication and undeniable humanity than that of Brooks, but this film isn’t just bad — it’s unbearable.

It hits the familiar beats that many find comforting, it has an undeniably adoring dog front and center for much of its runtime, and has a well-meaning enough outcome to its plot. But for those looking for something that doesn't quite literally skate the surface of its premise and characters, this is definitely not the film for you.

Silent Night, Deadly Night, is at its best when Nelson remembers how schlocky this material is, and he falters when he tries too hard to take it seriously.

What lingers after watching the film in its most complete form, however, is the fact that it’s so thoughtfully written, brilliantly constructed and (especially) beautifully acted. One imagines that breaking the film in two may have scuttled its chances of earning Uma Thurman a Best Actress nomination, but 20-plus years on, she deserves that recognition more than ever, conveying the character’s strength, resilience and determination, but also her incredible vulnerability.

At turns heartbreaking in its acuteness, at others exhilarating in its access to the dangers of pleasure, Djukić's is a rare kind of coming-of-age film. It is langorous in delivery, yet fast like lightning when it lands.