Film

Warfare (2025) is told from memory, and this A24 project can’t stop feeling intimately personal, even when it shocks.

It’s best to let Dead Lover’s mish mash of genres, low budget, multi-role-taking performers, and off-the-rails shenanigans wash over you.

Yeon Sang-ho’s Revelations (2025) is, by and large, an okay film. Ryu Jun-yeol steals the show, giving one of his strongest performances yet.

A heavy focus on the fears of fatherhood against a severely underdeveloped alien abduction plot leaves Descendent (2025) feeling incomplete. 

In Snow White (2025) Rachel Zegler stands out in a good remake sullied by a bad casting choice and over-reliance on underperforming digital aspects.

Redux Redux is a wonderfully understated take on the multiverse that doubles as a poignant story of the messiness of letting go of past wounds.

A movie called The Threesome could be just about anything, with most of those things putting titillation first. Chad Hartigan swerves the opposite way.

On Swift Horses is anything but swift, a banal slog that only intermittently comes to life when it’s not trodding over a well-beaten path.

Another Simple Favors offers its biting humor in small doses, it plots a confusing but mostly dynamic mystery with Anna Kendrick and Blake Lively.

The Electric State is more than a road trip sci-fi film, it becomes a mirror to how society has historically treated those it deems as “other.”