"Billie Eilish: Soft & Hard” is thrilling as a concert film, but its force comes from how carefully it maps the machinery behind the magic—the lighting choices, stage movements, emotional calibration, hidden pathways, and private moments of anticipation. It is vivid, immersive, and unusually personal, a portrait of a performer who understands the scale of her platform and still wants every person in the room to feel seen. For a film this massive, its most impressive trick is how close it comes to witnessing everyone.

John Wick: Chapter 3 – Parabellum is a sure-fire hit and continues the momentum set forth by the previous installments only to surpass them with explosive energy.

There are moments of joy and humor throughout, and the film insists on feeling those emotions, just as much as it does grief.

It’s a remarkable picture of inbound focus and outbound ambitions.

With his monumental control of the camera —at times staying with characters during quiet moments of anticipation, at others panning slowly 360 degrees to envelop us in the entirety of the environment— Davies directs the most refined coming-of-age story cinema has seen in recent years.

Directors Ha and Yi’s unflinching portrait of Lee is also admirable, as the movie shows the overall effects of a system indifferent to people who fall through its cracks. By staying with Lee and his story, from his early years in Korea, to his later years in America as an injured ex-convict, the documentary shows how the damage to Lee occurred, both as a death row inmate and a reluctant figurehead for the movement that coalesced around him.

[Fuller's] whimsical new family-action-adventure film is a lovingly crafted paean to a child’s imagination and a throwback to the glorious family films of the ’80s. It is also visually dazzling beyond all reason with staggering production design.

You get a sense of Poehler’s energy in the fast pace and comic timing of film, which moves at a good, precise clip. There’s a lot of material to cover here, some of it overly familiar, but Poehler does it with pizzaz.

The Impossible strikes an insincere tone, one that doesn't let the obviously powerful moments stand on their own, but instead follows the beautiful Hollywood stars to safety, while the real story is left on the ground.

Ultimately, the film is not only about children who refused to surrender, but also about a country that, for a brief moment, managed to put aside divisions in service of something greater. Like the best of Vasarhelyi and Chin’s work, it transforms an extraordinary true story into something more universal: a tale of endurance, release, and the desperate search for light.

Michell’s handling of the relationship between the two is touching in how little judgment he passes.

Amidst all the noise and nonsense, Hoppers makes a winning case for the enduring value of dignity and respect for all creation.

It’s a subtle and poignant performance that makes you eager for Richardson to have an even bigger spotlight in he next endeavor.

It’s an incredibly moving film that encompasses a wide scope of global issues through the intimate remembrance of one life.

It’s the unbreakable friendship between Kunle and Sean, the ways their time together, good or bad in college, will mark how they see the world, and how the world sees them, forever, that makes Williams’ Emergency an elaborate, chaotically hilarious, intensely terrifying journey worth taking.

Adopting a fly-on-the-wall approach that prioritizes Muñoz’s subjectivity — sometimes to a fault — Mija is nevertheless a personal and sincere portrait of Muñoz’s struggles, and her ability to adapt in the face of changing social and professional upheavals.

Eastwood wisely trains the camera on Cooper's face and keeps it there — he knows his actor can carry the story’s emotion when other aspects fail it.

A consistently funny yet narratively undercooked coming-of-age story.

Hanks' insightful tribute to the retailer, and chronicle of their history, is the story of the music industry, who had it all, and believed the good times would last forever, only to see it all slip away.

It's Arquimedes who emerges as the film's most indelible character, aided by Francella's fabulously icy performance. Lacking even the warmth of a Don Vito, Arquimedes comes across not as a man who does everything for his family, but as a man who expects his family to do everything, even damn themselves, for him and his twisted, heartless, self-centered worldview.

Diaz’ call-to-arms to artists speaks to the present just as it depicts a terrible period in the Philippines’ past. Season of the Devil is still a grueling, advanced-level watch, but one that delivers beauty and horror in equal measure.

While More Than Ever spends much of its time concerned with Hélène’s way of dealing with her illness, the film is a love story at heart.

Overall, Manners’ feature debut is perfectly polished. Duggan and Clear are distinct talents who scream future stars (or, at worst, working talents for years to come). But as insightful as it all is as a portrait of those bumpy teenage years for young women, it does all feel a bit too familiar. Maybe even a little too safe and predictable.

Ultimately pleasurable if very disposable, Homecoming offers strong teen dynamics and for once, serves up high school-sized stakes instead of placing the planet in peril.

A wonderfully eccentric examination of unlikely friendships that illuminates the absurd and lovely corners of life, Prince Avalanche is a deeply enjoyable, wondrous delight.

All of Wong's undeniable visual flair can't conceal the haphazard nature of the story.

Honey Boy may center on the impressive portrayals of three talented actors, but it’s the woman behind the camera that makes it soar. You simply can’t wait to see what she does next.

David Fincher is rarely dull, and The Killer cannot take the director’s filmography in that direction, but it won’t push itself toward the top of his work, either. A competently realized crime thriller made by a technical team just as sharply attuned to details as the director at the ship’s helm, the Netflix production is entertaining but a little orthodox.