The style, tone, and characters will be familiar to you, but there will be a richness that might not be there otherwise. Then again, Hong Sang-soo is a keen observer of humanity and a skilled enough filmmaker that it probably works terrifically on its own.

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.

A sharp, laugh out loud crowd-pleaser, Palm Springs could end up being the funniest film of 2020. But it’s not a mindless comedy. It tackles some profound topics amid the laughs, interrogating the sustainability of long-term relationships and exploring how a seemingly awful situation might be aided by a change in perspective.

Fortunately, the film doesn't attempt to turn "Yojimbo" into the first piece of an epic saga but aims to deliver another satisfying standalone samurai adventure.

It's a hilarious low-low-budget, rough-around-the-edges oddity that makes me very happy, and I hope someday it'll make you feel the same crisp beaver-beatin' joy.

Taylor Swift: The Eras Tour may not be a great film, but it is a hell of a good time at the movies.

Hit Man is light enough to be enjoyable, and Powell and Arjona really make things pop. However, Hit Man is also kind of forgettable, and often uninspired. The story is high concept, the execution is lacking.

It's a classical fable or a postmodern story within a story. Triumphant or deeply nihilistic — or both. The second in his planned "elements" trilogy, "Afire" will be difficult to top.

Again and again, the bleak truth is driven home: this is the society America built. One where helpful solutions are ignored as unrealistic, and violent action reigns supreme. Riotsville is a dream; a nightmare. It's a movie backlot that doubles as a boot stomping on anyone who dares to dissent.

The problem is that You Won't Be Alone is a film about identity that doesn't have an identity of its own. It is far too indebted to other films.

It follows in the footsteps of the Mr. Rogers documentary Won’t You Be My Neighbor? by shining a light on the making of the iconic series, revealing things you may not have known about its creators, and bringing some good old fashioned nostalgia to your heart.

Joyland is a wonderful film about longing and desire with a melancholy undertone that you just don't expect.

Lovable, uplifting, and guaranteed to put a smile on your face, "Rye Lane" is the funniest movie of 2023 so far and a highly satisfying walk-and-talk romance.

There's something about a Mike Mills film that feels like it's gently caressing the hair out of your face and kissing you on the forehead: a softness, a wistfulness that acknowledges how hard reality can be while tucking you into bed. While "C'mon C'mon" can't protect you from the world, it can at the very least hold your hand as it tries to figure out the path forward too.

There’s a lot to love here; searing heretic cinematography included, as long as you’re a fan of horror flicks that *love* taking their damn time. It’s emotionally invasive, disturbing, and brutally unforgiving once Sator’s presence takes hold.

In lesser hands, Challengers would have been a chintzy soap opera. Guadagnino, however, is able to bolster an admittedly typical soap story with an energetic style and attention to detail.

Pig is not the movie you think it is. It’s something far more beautiful, and far more painful. It is an existential meditation on the search for something. Anything. A kind of cosmic loneliness envelopes this film. It’s extraordinary.

The Holdovers is proof that we need more thoughtful, studied, loving, and irresistible human stories on screen. It certainly helps, however, when Alexander Payne is at the helm.

A sensory overload, Sound of Metal is one of the most fascinating films you’ll see all year. Even when Darius Marder‘s lengthy character drama isn’t quite working – a problem that persists in the final act – it’s always engaging.

As he’s done so many times before, with BlacKkKlansman being the most recent example, Lee is able to wrap his messaging up in an entertaining package, crafting what could be considered a war pic and a heist story that has so much more on its mind.

At a certain point, Navalny kicks into spy movie mode, detailing how that "Bulgarian nerd" utilizes data acquired from the dark web to pore over phone records and flight manifests to narrow down a possible list of suspects. It's riveting stuff.

In Asghar Farhadi's fascinating, complex A Hero, nothing is simple. And no good deed goes unpunished — if it was even a "good deed" to begin with.

It's when the film meets between these two modes — the mythic and the realistic — that it's at its most thrilling.

In The Woman Who Ran, Hong lets go of all vanity and gives Kim a well-deserved spotlight. With Kim’s rueful performance, and the film’s roaming, Eric Rohmer-like sensibilities, The Woman Who Ran allows itself to take solace in serenity and not worry so much about the would haves and could haves.

Mass is a masterful directorial debut for Fran Kranz.

A wonderful mixture of bad vibes and macabre fun, Weapons is one of the best horror movies of the year, and further confirmation that writer-director Zach Cregger is one of the most exciting voices in the genre right now.

It's impossible to describe. It's unlike anything you've ever seen. It's the best American movie in years, and certainly the best movie to hit theaters since the pandemic began.

Close is a story about growing up and losing those wondrous childhood relationships forever, but it's far more than that. It's a tender glimpse of loss on an unimaginable scale, told through the lens of a young boy trying to make sense of it all.