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.

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.

Heart Eyes is the best romcom-slasher hybrid that I’ve ever seen.

. Even at a blink-and-it’s-over 83 minutes, it pains me to say it but Love Hurts is an agonizingly unappealing disaster.

I walked away from The Count of Monte Cristo invigorated. Its intensity, its majesty, its larger-than-life virtuosity, all of that and more filled my heart with glee.

Boys Don’t Cry: Celebrating the complicated, problematic legacy of an essential entry in the LGBTQ cinematic canon on its 25th anniversary

We Live in Time is undeniably a showcase for Garfield and Pugh’s seemingly unlimited talents. On that front, they, and by extension the film, do not disappoint.

Fly Me to the Moon achieves liftoff through sharp direction, clever screenwriting, and good, old-fashioned megawatt celluloid star power.