It’s a movie that gleefully kicks its characters out of their comfy environs to plunge them into New York’s rattling, noisy crowds—and it’s worth watching with the biggest audience you can find.

With Tick, Tick … Boom, Miranda celebrates the power and the pressure of the world he loves most, and he’s picked a subject who encapsulates those warring dynamics perfectly.

The film doesn’t just re-create the journalists’ day-to-day life; it also captures the book’s solemn and matter-of-fact tone.

Just over two hours of entertaining but profoundly silly superheroism.

This film is the slightest story Coppola has ever produced; it only brushes up against deeper insights during its brief running time. But the movie offers such a rush of unintentional catharsis and pure diversion that its flaws are easy to forgive.

It’s rich with feeling, shrouded in darkness, but not despairing as it digs into the trials the Von Erichs faced, without merely dismissing the family as cursed.

Fair Play positions itself as a psychosexual thriller, but it’s neither truly provocative nor all that sexy.

Although it’s often charming and relatable, it’s a letdown when you consider the heights such a project could reach.

With the inventiveness of Creed III, an old franchise suddenly feels fresh.

The resulting adaptation satisfyingly combines the grandiosity of a musical and the intimacy of filmmaking.

With his latest movie, Lanthimos has made a tense, heart-wrenching tale with an admirably askance view of humanity that’s a worthy successor to his prior works.

Air is a great return to Affleck’s original impulses as a director: It’s a fun, well-made film for grown-ups that gives its actors room to flesh out their characters and, most important, doesn’t rely on Affleck’s star persona.

If the sequels keep coming, the John Wick story may one day collapse on itself. For now, the series remains the most reliable purveyor of high-stakes, onscreen combat around, a franchise that hasn’t yet been tarnished by its ongoing success.

Its advertising promises goofy hijinks amid an enclave of diverse species whose ecosystem is threatened by humans. The movie, in actuality, is refreshingly mordant about what might really happen if prey and predators were to try banding together: Their efforts would immediately devolve into a despairing, even political quagmire.

Although The Killer is a crisply told piece of pulpy neo-noir, it also has an element of self-parody to it, laying out a consummate professional’s precise process and then dashing it into chaos at every chance.

The Square is darkly amusing, but it’s also bracingly honest in its absurdity, and that’s what kept me coming back to each one of its wonderfully knotty scenarios even months after seeing it.

As a piece of pure exposition, Dark Waters is interesting enough. But around the hard work and do-goodery, Haynes also provides a sense of crushing dread—the kind of unsolvable paranoia these procedure-bound movies usually work to counter.

CODA is insightful and moving enough to be worth all the fuss.

So many rom-coms rely on tiresome plot twists to keep their characters apart before getting them together, but all of the ups and downs in Bros’ romance feel emotionally necessary.

All the Money in the World is watchable and at times quite gripping, but it’s little more than a middling entry in Scott’s long career.

It fearlessly—and wackily—reckons with how confounding people can be in their bid for one another’s approval: at work, at home, at their new friend’s house while dressed in their finest Ocean View Dining clothing.

I’m happy to see a major-studio teen film wrestle with homosexuality and life in the closet as more than a comical subplot, even though I wish there had been a more engaging character to build that progress around.

Yes, Gerard Johnstone’s M3GAN is pulled from January’s bucket of mostly low-budget pablum, but it’s cheeky and knowing enough to stand out from the slop.

If Mickey’s life is suffocatingly bleak, Mickey 17 is anything but. Rather, it’s a wacky, satisfyingly strange romp that further reaffirms Bong Joon Ho as a singular filmmaker.

Weathering With You sticks to its guns all the way to the finale. It’s a story of Japan’s younger generation figuring out its future, and of a repudiation of the past that goes hand in hand with hope.

Cronenberg has an obvious gift for making blood and viscera look inventive, even as they splatter across the screen repeatedly. But the film can’t outdo its initial hook.

Luce spends too much time presenting a puzzle for viewers to solve and, in doing so, neglects the human drama underneath.

This latest adaptation may not hit every note established by Walker’s text and Spielberg’s drama, but it tells Celie’s story sensitively. It understands, in other words, that she comes with a uniquely imperfect, profound rhythm.