Film

In French Lover, an actor falls in love with a woman who doesn’t know if she can handle his fame as their charm helps overcome rom-com contrivance.

Despite its misbegotten ending, Eleanor the Great is a good movie about living, losing, and loving with a wonderful intergenerational relationship.

As a spinoff (though it should just be considered a sequel) of Kill Boksoon, Mantis is the young scrappy upstart trying to find its footing.

One Battle After Another is a mixture of disparate elements that shouldn’t work, but against all odds does, and it is a win for the audience.

Yorgos Lanthimos’ Bugonia is his latest dark comedy that features two powerhouse performances but still winds up an empty dark comedy.

A weak script drags Marko Zaror’s strong action showcase in Affinity, a romance action thriller you might want to skip.

Vicious (2025) is a suffocating, often cruel experience that accurately simulates depressive self-loathing while building a vague mythology.

Chris Stuckmann’s Shelby Oaks works because it feels every bit like a “by horror fans, for horror fans” experience.

Honey Bunch loses its sweet touch with time, turning its strongest plot elements into little more than a farce by film’s end.

Sisu Road to Revenge prioritizes action, to the point where almost every big set piece received a raucous round of applause from the crowd.