All told, Swiped is a conventional, even hopeful biopic. Lily James is great in the lead role.

With a strong, character-focused story and interesting, symbolic elements that tie into its fearful moments, the movie offers a balancing act of commentary about the struggle of dreams.

Wrapped together by an entertaining story and a compelling lead, the movie is smart, interesting, and honest about its core subjects.

DaCosta makes some key changes to the ending of this story that slightly undermine its more subversive inclinations, but that doesn't make the film any less effective. Her confident direction and Sean Bobbitt's lush cinematography make Hedda an electrifying adaptation that relishes the chaos as much as its characters, even as blood, bullets, and booze continue to fly.

Eternity isn’t a bad rom-com; it’s charming and wildly entertaining for the most part, but by skirting a conventional narrative to be more creative, the story loses some of its effectiveness in the process.

The film is genuinely funny, and the cast is up to the task as the story balances impending consequences for Maria’s actions and gasp-inducing comedic satire.

Even with its flaws, it’s largely an entertaining film with plenty of humor and a story that truly must be seen to be believed.

Ansari has brought his familiar comedic charm to a solid, original story, and the end result is an all-around good time.

Rental Family is practically poetic in its handling of its themes. It gets to the root of human emotions and how they’re affected by the world around us and the decisions made by others. It’s a heartwarming film that asks thoughtful questions, and I promise you won’t be disappointed by its answers.

As a character study, Blue Moon is imperfect, but its smart framing of a pivotal moment in Hart's life elevates it.

Just when it feels like it's going to hit the gas, The Wizard of the Kremlin holds back, all the way up to its confounding, out-of-left-field ending that is both abrupt and fittingly bleak.

Its focus may have needed some more fine-tuning, but Steve proves meaningful regardless.

It’s bleak and hysterical and violent — everything you’d want from a Park film. But it’s also devastatingly intimate and intensely relevant, both in the ways it tackles questions of identity and our place within an increasingly dangerous system, one that could feasibly lead people to murder.

Despite its pitfalls, Wake Up Dead Man is still enjoyable. It has its charming moments, there’s a lot to think about in terms of the story, and the cast is good, if not great, overall. It’s just hard to watch the movie and realize the mystery and excitement have waned.

Rather than being a well-rounded look at Martin's life, Christy offers a shallow, unbalanced perspective. It's light on its feet in some parts and heavy-handed in others, and though Sweeney gives a strong performance, I can't help but feel like she deserved a better showcase for her talents.

A great cast and patience will prove only somewhat rewarding, even if the journey to get there is shaky and more than a bit confusing.

There are certainly lulls throughout, and the story needed some tightening. But what it lacks is more than made up with a great cast, distressing moments, and some well-shot action.

Ultimately, Dead Man’s Wire succeeds as a comedy but often falters in its deeper social commentary. Though it lacks the critical bite that could make it one of Van Sant’s best, it sits comfortably among his most entertaining.

This movie is as close to a perfect ending as the franchise could get.

In its own way, Griffin's experience is universal, but Griffin in Summer finds specificity in its amusingly abrasive central character.

It’s rare for a final film in a horror franchise to deliver character development, a chilling story, and a satisfying ending for the characters. The Conjuring: Last Rites does all three. As a farewell to the Warrens, Chaves balances the terrifying with the heartfelt to great effect.

With a core duo that's captivating to watch and a sweet love story that tugs at the heartstrings at times, The Baltimorons is a stellar holiday-themed story that's perfect for any time of the year. A beautiful movie with passion in every scene, this film deserves to go down as the best romantic comedy of 2025.

Ultimately, The Long Walk is a terrific, entertaining film with some interesting things to say about the state of the world. They're not all fully articulated, but I’ll always prefer a film that advances cautiously in the right direction rather than one that hits the ground running without knowing where it’s going.

[Elordi] and Isaac's fierce onscreen chemistry is more than enough to keep Frankenstein electrifying even when the story is stalling.

It's a B-movie that completely understands what it is, and even if it doesn't get a wide release, it's destined to be a cult classic for both horror and war movie fans.

While it may not be the most refined example of its genre, it's really hard not to fall in love with A Little Prayer. Both in the script and performances, the characters feel thoroughly well-realized, the themes at the heart of the story are universal and tackled deftly, and MacLachlan's direction creates a richly tender visual palette.

While Seyfried’s performance and Fastvold’s direction are almost without fault, there are several moments where the screenplay touches on some fascinating ideas but then never returns to them again.

Ultimately, Jay Kelly is a very moving, sentimental film that succeeds effortlessly at telling a great story, but whose attempts to go thematically deeper often feel repetitive.