Black Bag is a perfect example of all of Soderbergh's strengths and the heights he's capable of reaching throughout this run-and-gun phase of his post-retirement career.

The film toys with a lot of weighty ideas about faith and soulmates, which it never is quite able to form a coherent message about, but its unexpected ode to platonic soulmates and its thoughtful depiction of immigrant life in smalltown America is a sweet, refreshing addition to the coming-of-age genre.

Zootopia 2 may be the gateway to teach young viewers to question who sets the rules, and be inspired to break those rules if it means doing what's right. Zootopia 2 may not be as politically biting as something like "BEASTARS," but if you need the Mouse to validate your politics, you don't actually have politics.

Though Verbinski's smallest movie since "Mouse Hunt," it still feels as ambitious as the director's blockbuster work.

Gillian Jacobs doesn't necessarily break new ground with More Than Robots, but the film is still a lovely look at some promising kids from all walks of life getting the chance to spread their wings and find a community of like-minded peers who make them feel a sense of belonging and purpose.

Gaia is a dazzling bio-horror excursion.

Through it all, My Old Ass never loses sight of the big picture. Park weaves together theme, plot, and emotion through various montages with the skill of much more established filmmakers, knowing precisely when to tap the brakes and let scenes breathe for maximum impact.

In stark contrast to the rise of "second screen" brain rot and clunky dialogue meant to catch streaming audiences up on whatever they missed while scrolling on their phones, Killer of Killers demands your undivided attention every step of the way lest you fall behind.

The film's introspective approach works well for developing mood, and its reliance on implied events, rather than telling or otherwise revealing the history, invites the audience to fill these gaps, thereby forcing participation in the narrative construction. It's a powerful debut for Wells, and a pleasure to watch.

For as dark as the story becomes, the film still has such a twisted sense of humor that feels right at home with Kravitz's sensibilities and social commentary. The pacing might be frustrating for some, and the intensely bleak material might be too much to handle, but that's precisely what makes Blink Twice so interesting.

The film somewhat fizzles out and doesn’t feel like it has a satisfying ending, but in a way, I wonder if that’s intentional. Insert Coin comes to a close suddenly, not unlike the arcade game renaissance of the 1990s. But it does leave you with the hope and inspiration of whatever the next generation of video games holds, even if it’s no longer powered by 25 cents.

An endlessly charming, funny, and delightfully lo-fi British comedy.

From the impressive cinematography to its refreshingly non-pandering script, Gilford further proves himself to be a powerful voice in modern queer art.

A dark, ominous undercurrent runs through "Candyman," signaling Nia DaCosta as a filmmaker with a firm, unique grasp on the genre. The original "Candyman" already had a few sequels, but none of them are as clever, as interesting, as effective as this. Go ahead. Dare to say his name five times in the mirror. "Candyman" will live on.

This may not be the film fans expected, but it is still a worthy addition to the Digimon franchise.

Fresh is shameless and hilariously audacious, anticipating critique even when it can't quite offer a response. But the film happily rolls with the punches, so self-assured that you're hard-pressed to let the flaws win out. Because even if its commentary won't linger, the experience of "Fresh" is something to savor.

Ultimately, Pay or Die is an infuriating documentary that will make you hate the capitalistic approach to healthcare in America, especially since this is only one disease and one medicine out of many that are being exploited by pharmaceutical companies every day.

One thing is for certain, you haven’t seen an anime movie like this.

The final result is the funniest feel-bad movie in ages, though one that will worm its way into your thoughts long after the credits roll. No Other Choice is proof of that all-too-rare kind of theatrical experience — one capable of being far more than it appears to be from the outside looking in.

Glass keeps her audience on our toes, always surprising us, challenging us, provoking us. The film’s a marvelous thing in its own right but also a thrilling invitation to follow this filmmaker wherever she dares to take us next.

The dreamy images and the simmering passions of the film lingered with me.

A pair of endearing and hilarious lead performances from teenage Griffin Gluck and comedy prodigy Pete Davidson turn the movie into a real gem.

Ruthless, deeply cynical, and thrumming with jet-black humor, Dual is a Riley Stearns movie through and through.

It would've been incredibly simple to give us a traditional "Matrix 4."  Instead, The Matrix Resurrections takes its big-budget and runs wild with it. And while there are more than a few stumbles here, any modern-day blockbuster that's this unafraid to subvert expectations is worth celebrating.

The ending is a massive disappointment, but it can't undo everything that came before it. Boyle and his team have conjured up a kind of sensory overload — the blend of violence, mixed-media, and a frequently jarring soundtrack swirl together with feverish effect. "28 Years Later" is both scary and touching, and that's not easy to achieve. It's impressive, effective, and memorable. But someone should have told Boyle to nix that finale.

The Drama is a cinematic Trojan horse: it's a breezy farce that feels uncomfortably ominous, and it's also a star-studded romance movie which could set off a discourse bomb.

This is the hilarious hidden gem of the holidays, and it's better than any of the other new releases trying to hit that Christmas sweet spot this season.

Butterfly in the Sky is a heartfelt, beautiful celebration of one of the most influential educational children's programs to grace our television, but it also comes with a point to make.