Flux Gourmet is an enjoyable romp that pushes buttons, defies conventions, and makes you see food in a whole new light. I'd like to think that was exactly Strickland's goal, no matter the film's ultimate genre.

Feels Good Man is, in some sense, a horror movie about the legacy of images, the ownership of images by their creators, and the lives they take on outside of the artists who make them. In particular, it’s a horror story about the life of one particular image: Pepe.

Overall, I wouldn't say Guillermo del Toro's Pinocchio is a "dark" movie so much as it is a challenging one — refreshingly so, with knotty, complex questions and real peril.

Dune: Part Two is a rare big, expensive blockbuster with a lot on its mind. Not content with just spectacle (and boy, there is a lot of that), Denis Villeneuve's sequel packs in heavy thoughts on religion, war, revenge, romance, and yes, really big worms. It's not entirely successful, but gosh, you gotta appreciate the attempt.

This is a sweet, friendly, low-key affair that often feels less like a story and more like a home movie Linklater collected to share with his grandkids.

All These Sons falls short of Liu’s tremendous documentary feature debut, but shows that the Minding the Gap filmmaker is capable of tackling a complicated and knotty subject with the same kind of laser-focused intimacy that he showed in his first autobiographical outing. There may be a distance to All These Sons, but its clear-eyed compassion makes it a solid and effective follow-up.

The film, with its pulsating score and club-scape visuals, is only interested in showing its audience the truth about situations like the one that unfolds throughout the story — and Molly Manning Walker's first film feels like an expert, surefire debut as a result of the skill with which she (and the brilliant collaborators she surrounds herself with on and off-camera) elicits every subtle gut punch the movie has to offer. 

Not only does it stand on its own as a masterful action-adventure blockbuster, but it also exemplifies Miller's thesis as a whole: that survival "in extremis" reveals the true essence of a person. "Fury Road" is an even better movie because of "Furiosa," and George Miller has gifted the world with his magnum opus. Witness him.

where Shaun the Sheep Movie felt comedically risky and goofy and brilliant, Farmageddon is a bit dated on arrival, making the kinds of jokes that would have felt a bit old hat a decade ago, let alone now. It’s a good thing this movie exists, even if it’s not quite up to snuff.

The plot grows more elaborate and fantastical, but the film itself has its feet firmly on the ground, and Soderbergh seems solely committed to giving us a quick, mid-budget, ultra-sturdy thriller with no pretensions — the type Hollywood doesn't really make anymore.

Whenever the film was on the verge of losing me, O'Brien's steady, remarkable performance brought me back. He really is that good here, and honestly, that might just be enough.

Although it doesn't possess the hard-boiled, shifty-eyed salaciousness of a traditional whodunnit, "Conclave" is certainly in the spirit of a private investigator story.

Sullen, sarcastic, silly and seductive at various times, the film manages to walk a high-wire act of tone, making the act of mourning the least miserable part of the family gathering.

Laugh out loud funny, strangely charming, and a truly unique endeavor, "Nude Tuesday" is exactly the kind of movie you love to discover on the film festival circuit, and it deserves to find an audience on the big screen, even if it's just for the indie crowd.

Cruz is the film's MVP as Lola, kookier than she's ever been, and playing well into the character's question mark of a persona — is she a true auteur or a hack? You never really find out, but watching Lola become increasingly disillusioned with the whole project makes her the closest we get to a relatable character in this whole heightened satire.

Where the 2023 film succeeds is a visceral emotional and textural experience.

It’s a beautiful, strange terrarium of a film, inviting us to gaze through the glass and wonder what’s going on underneath. Just as funny and creepy as it needs to be, the film is Kaufman at the top of his game, firing on all cylinders. A master of his own unique, unclassifiable craft.

Kids in the Hall: Comedy Punks is an insightful, celebratory, uplifting, and uproarious documentary that celebrates some of the best and brightest comedic talents.

Though there are certainly moments that will pull at your heartstrings, Still: A Michael J. Fox Movie is more uplifting than sad, and it's also quite funny thanks to Fox's natural charm and the wealth of comedy from his on-screen career.

This is a great time at the movies, the kind of dark comedy that plays to the crowd and the kind of pseudo-thriller that keeps you guessing as each poor decision made by its lead character introduces a new wrinkle in the ongoing spiral of drama and recklessness.

July – and her performers – find humanity lurking within their quirky oddballs. There’s also plenty of humor to be had, mostly from Wood’s deadpan delivery.

Cruise once referred to the '86 film as "an amusement park ride ... a joy ride [which] shouldn't be looked at beyond that," and for audiences who can watch "Top Gun: Maverick" through that lens and appreciate it as a piece of propulsive action cinema, this could end up being one of the most crowd-pleasing and satisfying movie experiences of the year.

BlackBerry may not get the awards love "The Social Network" did, but it does turn a fascinating story into a very entertaining film.

Oddity is one of the best horror movies of the year.

It's a heartbreaking, but clear-eyed look at the last gasp of a dying industry, and a man whose whole identity, whole livelihood gets shattered by a force beyond his comprehension.

There's plenty of slow creeping dread on display here, matched with that dark humor and two fantastic leads. It all comes together to make "Birth/Rebirth" one of 2023's more interesting horror entries.

Warfare is downright experimental in its presentation, daring even in how it bucks form and structure. As an experience, it cuts to the bone.

An effective blend of lyrical impressionism and controlled precision, After Yang is another quietly impressive effort from Kogonada.