Every non-storytelling facet of F1: The Movie is beyond reproach.

Sorry, Baby is the type of film that stays with you long after the curtain has closed and everyone has left the theater. It’s darn near perfect.

Boyle and Garland refuse to play it safe and, by doing so, make 28 Years Later an essential piece of horror social commentary. This is one of the year’s best films.

Materialists may not quite gel, and its pieces do not all fit together comfortably, but I still find that I can’t stop thinking about it and treasuring so many of the story’s idiosyncratic wonders.

Karate Kid: Legends is like watching a Karate Kid “greatest hits” compilation, only with one’s finger pressed firmly down on the fast-forward button the entire time.

I found watching Lilo & Stitch to be the cinematic equivalent of a comforting warm hug.

Much like its predecessor, The Accountant 2’s entertainment numbers add up, and thanks to Affleck and Bernthal’s captivating chemistry, the watchability return on investment is impressively significant.

The Wedding Banquet proudly walks down the aisle with confident grace and beauteous determination.

Sinners is one of 2025’s best films. More to the point, it’s one of the best I’m going to see this decade. Coogler has crafted something special.