Get Away subverts expectations to make a lively dark comedy, but one that falls apart if you try to make sense of it.

There’s a cruelty to You Are Not Me that’s initially hidden by its holiday setting, but that becomes apparent once the true intentions of this family get-together are revealed. The film makes the case for more familial drama-thrillers to be set around the holidays and redefines what it means to be a “Christmas movie.”

Sweethearts may not single-handedly bring back the wave of ’90s romantic comedies, but is close to that essence. The sort of warm, comedic version of hot chocolate, sure to warm the coldest heart on a Thanksgiving night.

The Killer’s Game is a life-or-death love story grounded by a gentle, yet violently vicious, performance from Bautista.

Wicked had the opportunity to bring back the days of the classic Hollywood musical, but it gets a little lost without the yellow brick road.

We’ve all seen a reluctant duo trying to start a new life while on the run from some vaguely described bad guys, and Lake George follows the expected beats. It’s Whigham and Coon who make the difference.

Know Your Place is a personal story of identity, one that feels universal in its quest for belonging.

Armand is a thriller that didn’t realize it had the necessary ingredients for a tense chamber piece without relying on surreal interludes to up an ante that was already high.

Saturn Return puts audiences in the thick of it all and lets them see how the magic is made. Music is always about more than a hit song on the radio. It’s about the emotions behind it all. 

Been Here Stay Here loves the island it documents and prays for its ability to adapt to the changes that are coming.

Maria is one last, beautiful look at the woman who spent years in the spotlight, and her desire to find her peace.

We are doomed to repeat what we cannot learn from, and there is much within Blitz that is all-too-relevant today.

Gladiator II doesn’t need to scream “are you not entertained” because it knows we are. Gladiator II delivers exactly what you want from a blockbuster.

Even if all of the wrinkles aren’t ironed out, Samson is a creative exploration of toxic relationships and the ways we can free ourselves for a better life. 

The American celebrates such a delicate art, but is a bloody tale about the cost of obsessively reaching for perfection.

Juror #2 is an updated and expanded take on 12 Angry Men. While not as tightly paced as the 1950s classic, Juror #2 belongs to a bygone era and its return is more than welcome.

Culkin and Eisenberg two are the heart of the film and it’s their final scene together that captures what A Real Pain wants its audience to take home with them. Pain is universal, but what we do with it is personal. 

His Three Daughters is messy in a way that reflects all of our families. The way we fight, the way we grieve, and, hopefully, the way we love. 

All You Need Is Blood is infectious, a zom drom that may not have a pulse on a zombie technicality, but is brimming with life.

The People’s Joker is an explosion of anger, joy, and art. More earnest and important than any superhero movie that came before it.