Despite its occasional messiness, it ultimately works as a strange, yet sticky meditation on what it means to be extremely close to someone. Maybe too close.

More than just a soft reboot or another brick in the MCU wall. Not everything works, but the foundation is solid.

It’s one of the boldest films of the year, and one of the funniest, and one of the most uncomfortable to sit through. Which probably means it’s one of the most important too.

By the time the rain stops falling and the final girl stands in the aftermath, you’re left wondering what exactly we gained from this return to Southport. The answer may very well be: not much.

James Gunn reboots the world's most iconic superhero for the modern age in a movie with a whole lot of heart in the right place.

There's not much new in this soft reboot of the Jurassic franchise, but what's here is executed exceptionally well.

while 2.0 brings a few inspired upgrades and goofy delights, it also short circuits itself with a bloated story, a soggy middle, and a disappointing refusal to let its most exciting ideas really go off the rails.

In an age where most zombie stories feel like retreads, 28 Years Later dares to evolve. When it’s good, it’s not just good - it’s one of the best things you’ll see all year.

Stephen King may be best known for his ghosts and monsters, but The Life of Chuck proves that his most powerful stories have always come from a place of love.

Bring Her Back sinks its claws into the raw nerve endings of grief, trauma, and that universal, dangerous desire to undo death. It’s a ghost story of sorts, but one that feels sickly and decayed, soaked through with guilt and longing and rain.

While this final chapter isn’t without its share of bloat, messiness, or questionable edits, it’s still a wild, impressive, and deeply satisfying farewell to one of cinema’s most enduring action heroes - and to the man who’s embodied him with tireless fervor for nearly three decades.

For a series that’s always struggled with what it wants to be, this is the closest we’ve gotten to a definitive answer: dumb, fun and soaked in blood.

It may not be a total misfire, but it’s definitely not the sharp reinvention it could’ve been. However, if all you're really looking for is clown-themed carnage and murderous mayhem, you just may get your money's worth here.

While it’s not the most accessible movie for casual audiences - and certainly not the flashiest - this grim, emotionally grounded antihero story just might be the best thing the studio has put out in years.

A filmmaker baring his soul in the only language he knows - one of flesh, decay, and the futile, beautiful need to connect before we disappear.

Ryan Coogler tells a story that’s wholly and unmistakably his own. Blending the bold energy of genre storytelling - specifically supernatural horror - with a potent narrative of racial oppression, cultural identity, and spiritual survival, the result is one of the most richly textured and soulfully resonant films of the year.

The Wedding Banquet is a triumph — thoughtful, funny, and deeply affecting. It honors the legacy of Ang Lee’s original film while carving out its own space as a vital queer narrative for today’s audiences. In a landscape where LGBTQIA+ stories are constantly evolving, Ahn’s remake stands as both a reflection of the present and a hopeful look toward the future.

This is not a film about “why” the Iraq War happened or what its global or political consequences were. It’s not even really about who was right or wrong. It doesn’t try to moralize or contextualize. It doesn’t offer answers. It hardly asks questions. It simply exists - as a stark, often brutal reenactment of a singular mission gone sideways, told from the subjective memories of the men who lived it.

Drop doesn’t quite reach the inventive highs of the past works of Christopher Landon, but it’s still a gripping and cleverly modern tech thriller anchored by a terrific lead performance and that same signature Landon flair.

A stylish, well-acted horror film with a killer concept that falters under its own weight.