Love+War doesn’t canonize Addario. It throws the audience into her contradiction: the duty to record history versus the duty to be present at home. It doesn’t answer whether those responsibilities can coexist, and that’s the point.

There’s a noble search for meaning in the grass, sea and mountains, but it couldn’t hurt to have characters vocalize their feelings even just once. There is a story here, though Pálmason only really alludes to it.

Like so many straight-to-streaming releases, there are sparks of life here, but it all feels like a yawning afterthought that any strengths won’t so much be overlooked due to the flaws, but forgotten altogether because there’s simply not enough here to latch onto, good or bad.

There’s no question as to the compelling way in which McCollum goes about his journey, less a tent-style preacher barking commands at a receptive crowd but rather a kind individual with nothing more than the belief that his life has a larger purpose. The bigger questions remain unanswered, but just as the film’s title carries a question mark, was that ever the point?

There are scares, surprises, and it feels different, but also like a natural companion piece to the first movie.

Is This Thing On? isn’t perfect. It stumbles where it should soar. But it’s alive with feeling, and that counts for something.

Ultimately, Tron: Ares is all voltage and no current—an aesthetic overload that confuses stimulation for meaning.

Despite the frustrations of its labyrinthine rhythms, Landmarks is a worthy companion to Martel’s Zama in its prodding at the contradictions of a country whose denial is so grave it will bend its language and its laws before acknowledging truths that shed light on the horrors of its past that painfully echo in the present.

To see Daniel Day-Lewis reemerge under his son’s daring direction is more than a comeback; it’s a cinematic conflagration, a collision of legacy and reinvention that feels historic.

With nothing but artful austerity to offer as a tether back to reality, The Ice Tower shatters.

By the end, Are We Good? transcends its conventional biographical trappings to land somewhere soulful. Dragging us through the wreckage of grief and out the other side, it suggests that Maron’s legacy isn’t merely acerbic stand-up or podcast milestones, but the more complex work of becoming human in public.

Brides has good bones — an interesting premise and a clearly capable director — but it’s unclear what it ultimately wants to say.

Ultimately, Driver’s Ed does win you over, and you can always watch it the way its protagonists would—while scrolling through your phone.

Fierce and unrelenting, Paul Thomas Anderson’s “One Battle After Another” burns as both an incendiary action epic and a tender family drama, alive with humor, conviction, and revolutionary spirit. And amid all its pandemonium, Sergio’s reminder that “freedom is no fear” lingers as the film’s quiet truth, a mantra passed down like a torch. Few films this year feel so vital, so breathtaking in scope and soul. Viva la revolución, indeed.

Both actors are superb, but the problem is that history isn’t really on their side. The incidents depicted in “Saipan” were dramatic in 2002, especially in the sports arena, and to a fixated Irish public who took sides. But two decades later, it all lands with a thud.

Credit where credit is due, Sacrifice ultimately made me seriously consider the prospect of death while watching it. However, this mostly came from a desire for it all to end so we no longer had to keep enduring the inescapably vapid and shallow film unraveling before us.

The Fence presents a theatrical style that paralyzes the film into a tense but frustrating checkmate for much of its running time.

The film rests squarely on Farrell and Robbie. They have chemistry and a guiding hand in Kogonada, but ultimately A Big Bold Beautiful Journey is undone by a syrupy, over-romanticized screenplay untempered by the director’s usual delicacy and restraint.

What could’ve been a fun little sci-fi horror transforms into something that deflates any remaining tension and engagement in one fell swoop.

It’s a film where every detail of the craft is worth taking in even when the story starts to lose steam a bit towards the end.

It’s one of those well-intentioned efforts that feels inherently too safe. There’s nothing wrong with that, but Roher teases that he knows he could reach higher.

It’s a bit of a bumpy ride in “Rose of Nevada” as the abstractions of his technique bristle against the demands of the storytelling to balance various story elements (not to mention an ensemble cast).

It’s super funny, the performances are natural, and the whole endeavor is beyond charming. It’s a movie clearly meant to fit into the studio comedy mold, so it goes down easy.

Karia has Ahmed’s impassioned performance, one of his best, a committed and talented cast, often stunning visuals from director of photography Stuart Bentley, as well as his own imaginative staging to captivate the viewer.

It’s a marvel that Bennett crafted this screenplay almost at the age of 90. And his dialogue is often sharp and witty. The scenario is ripe for a captivating and moving drama. And yet, perhaps this was one project that needed a different director at the helm for the material to truly resonate.

Even as Fuze is not a great film, let alone one that will be remembered as a classic new take on the genre, it’s an endlessly watchable one.

This movie is Ferreira’s moment, and she rules.

[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.