Cassandro isn’t here to cover every moment of Armendáriz’s life. And there are storylines, especially with his father, that neither Williams or his co-screenwriter, David Teague, can bring to a satisfying conclusion. But as a portrait of a man finding himself in his profession? Of celebrating his true self? It’s extraordinary.

Like Searching, Missing has something tenuous it wants to say underneath its shocking mystery about viral social media culture and the true crime craze; how our social media culture is too prone to exploiting real peoples’ pain for clout and consumption. But if there was an inkling of profundity in this regard in Searching, there’s none of it to be found in Missing, which functions more like a direct copy of true crime rather than an interrogation of it.

Somewhere within these two hours is a lean-90-minute action film that is only interested in violence and gore. Project Wolf Hunting may occasionally get bogged down in its own mythology-building, but once the kills start piling up, it’s easy to get lost in the mayhem.

Unfortunately, memorable moments are few and far between here, and those are mostly spoiled by the film’s trailer.

In finding humor, pathos, and beauty in such a complicated subject matter, Ohs and company deliver a sunbaked ghost story that should stand the test of time.

It’s undeniably impressive that such a tiny movie has garnered such a reputation. Ball has made an interesting attempt here, and it will be exciting to see what he does with a little more money and, hopefully, restraint. In the meantime, unless you want to tirelessly search “Skinamarink” for creepiness in all this filmmaking fog, you’re likely to find there’s very little there there.

The blunt examination of COVID ideologies is ingenious, though difficult to fully unpack without giving away the third act, but it’s the filmmaking’s ruthlessness that’ll catch in your mind.

Consider this an entertaining popcorn movie to start the year off right, and as Gerard Butler actioners go, a solid mid-tier production.

Unfortunately, a solid premise and an appealing cast get bogged down in The Drop, and the film ends ups dropping the ball—and the baby.

This Place Rules is a cracked funhouse mirror of conspiracy brain rot and uniquely American surreality. We very much doubt you’ll see another documentary like it anytime soon.

M3GAN locates the horror and hilarity lurking barely beneath the surface of our screen-addled society.

Panahi does not paint himself and his practice in a kind or perfectly innocent light here. However, his ability to still clearly identify who the real culprits are is an inspiring testament to his clear-mindedness and his unshaken ability to imagine a better, more just world.

It’s rare that we need two of essentially the same film, rarer than rare, but “A Man Called Otto” has earned a space in the list of worthy remakes for its big heart and emotionally charged performances that don’t skimp on the comedy.

If you’re down for a wild ride and a spectacle, this is a beautiful, confident, and big-hearted experience that is way better than it needs to be and more than does justice to the legacy of Dahl’s creation.

“Walls” is more like a Wikipedia entry— the hyperlinked names appear, and the key events are noted, but there’s not much in the way of genuine insight.

The Pale Blue Eye works best when Cooper lets it be a two-hander between Landor and Poe. Iron sharpens iron as the two men push themselves down fruitful paths of deductive reasoning. The game of twisted allegiances, false partnerships, and premature resolutions makes for a wicked mystery that continues unfolding in riveting ways.

A respectful, fitting, and far more honest account of what the artist nicknamed “The Voice” gave us, it’s a biopic that is up there with “Rocketman,” “Ray,” and “What’s Love Got to Do with It."

If nothing else, Babylon is a giant swing, a three-plus hour orgy (sometimes literally) of sex, drugs, and cinema, a respected young artist reaching for a profound statement about art and commerce and America. He misses it by a country mile, but hey, he sure does take that swing.

Gorgeously realized and crafted with homespun care, this delicate and heartbreaking drama is one of the year’s best films.

This is not just content you ingest. Avatar: The Way of Water is a movie you bodily inhabit for three stunning hours. We come to this place for magic, indeed.

Return to Seoul begins as an intimately off-the-cuff stranger-in-strange-land story and becomes a sprawling epic of personal discovery. It’s one of the best films of the year.

By the time the film reaches its final twist, it almost acts as a punchline to a two-plus-hour joke about the inanity of spycraft. It’s a reveal so harebrained it doesn’t so much make you question the film that comes before it as it does Jung-jae’s logic and reasoning.

Unlike other political documentaries, “Lowndes County” isn’t afraid to end on a bleak, truthful note. One that challenges our modern perception of what is better and what is merely different. It is, quite simply, one of the best documentaries of the year.

This sobering movie is a triumph, but it’s also just a hugely compelling story about how power tries to silence all other narratives.

The Disney animators clearly had a blast creating a world beyond their wildest dreams and finding the connections between all the curios they created. Too bad that they could not let the wider creative team in on the fun – and the audience as well, for that matter. A visual feast leaves the other four senses wanting.

A scattered, occasionally galvanizing, call to arms, To The End paints in broad strokes. Yet, when it lands, which it often does when focused on the sheer doggedness of its protagonists, Lears’ film replicates the simultaneous enthusiasm and indignation that propels these activists to continue working.

Taurus may not reach the existential heights of “Last Days,” but it’s a step in the right direction for Sutton and a continued reminder that Baker needs more roles that reflect his skill set.

The People We Hate at the Wedding is a career nadir for this cast, an asinine, poorly executed-excuse for a comedy. A little advice? Save yourselves and just RSVP no to this disaster.