Kristen Stewart and Alia Shawkat pair up for the year’s best hangout movie with ‘The Wrong Girls’, a movie that functions best when you don’t try to think about it too much.
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Eli Roth’s name being attached to ‘Ice Cream Man’ will be enough to grab the attention of many horror fans. But while critics most often fail to connect with his work, Roth’s diehard fans have long jumped in front of the sword to defend him. Ice Cream Man may change all that.
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While not without its flaws, filmmaker Corrin Evans strikes the screen with the aesthetically invigorating and thematically rich ‘Corpus’, one of the major highlights of this year’s Fantasia Cheval Noir section.
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Jane Schoenbrun tackles a lot in ‘Teenage Sex and Death at Camp Miasma’ that it almost feels like it’s going to collapse in on itself, until it doesn’t and opens up in ways you never expected from the outset.
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Short, sweet, and blending the old with the new, ‘Jackass: Best and Last’ is less swan song and more victory lap. Longtime fans and new viewers alike will find a lot to appreciate in this theatrical riot.
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Despite a committed performance from Mila Al-Zahrani, Haifaa al-Mansour’s ‘Unidentified’ takes a rather irresponsible turn near its final five minutes, which sinks the entire proposition from the acclaimed Saudi filmmaker.
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Despite solid performances from Samara Weaving and Kyle Gallner, alongside an assured sense of style, Adam Carter Rehmeier’s ‘Carolina Caroline’ doesn’t have much to offer beyond its obvious inspirations.
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Despite a solid cast and assured photography, Olivier Assayas fails to meet the moment with ‘The Wizard of the Kremlin’, delivering a complete nothingburger that has no idea what it wants to say about the figures it presents.
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Thanks to heartfelt performances from Robert Aramayo, Maxine Peake, and Peter Mullan, Kirk Jones’ ‘I Swear’ overcomes its clear Ken Loach visual inspirations and draws an uplifting portrait of finding purpose in raising awareness of the difficulties of Tourette’s syndrome.
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‘Hokum’ crafts a cinematic Irish folktale and brings it into modern day, but regardless of the title, there’s no ‘hogwash’ to be found in terms of the fear director Damian McCarthy creates.
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Directors Daniel Roher and Charlie Tyrrell offer a pragmatic vision of our potential Artificial Intelligence-dominated future with ‘The AI Doc: Or How I Became an Apocaloptimist’, even if it doesn’t go deep enough.
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Vicky Jewson’s ‘Pretty Lethal’ squanders an interesting premise with paper-thin characters, dull performances, and poorly staged action.
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What happens when three nuns and a young boy go on a journey across New Zealand? You get one of the best indie movies of the year in ‘Holy Days’.
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Thanks to heartfelt performances by Claire Foy and Brendan Gleeson, Philippa Lowthorpe’s ‘H Is for Hawk’ is effective enough to hold our attention, even if the approach taken here feels a bit too pedestrian.
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While Kate Winslet’s ‘Goodbye June’ may not reinvent the aesthetic and thematic wheel, its story is treated with great urgency and emotional care, allowing the audience to feel the characters’ emotions, rather than being told what to think at any given moment.
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Paul Feig crafts his first theatrical production since 2019 with an adaptation of ‘The Housemaid’, but the end result leaves much to be desired, despite solid turns from Amanda Seyfried and Brandon Sklenar.
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Kaouther Ben Hania’s docu-fiction hybrid ‘The Voice of Hind Rajab’ is a difficult but necessary document of the atrocities still occurring to this day in Gaza, and, most importantly, the individual human stories no one is currently talking about.
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James Cameron offers another lesson in blockbuster filmmaking with the daring ‘Avatar: Fire and Ash’, through three hours of dazzling mythopoetic images that remind you what all great art should strive to achieve.
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While Bryan Fuller’s ‘Dust Bunny’ bristles with an imaginative visual style and an intriguing world to explore, it’s often bogged down by unimpressive CGI theatrics, despite Mads Mikkelsen and Sophie Sloan attempting to hold the fort.
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While ‘Nuremberg’ boasts a strong cast and admirable intentions, the bizarre choices it makes along the way turn what could’ve been a thought-provoking drama into a hollow and trite object.
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