Naoise’s dad repeats one sentiment throughout the movie. “Every word of Irish spoken is a bullet fired for Irish freedom." If that’s the case, Kneecap is a guns-blazing fight for Ireland’s past and its future.

Within Mufasa, there’s clear passion and dedication to the past while trying to make sense of the future, even if the path forward is uneven.

Egerton is the charming lead we already knew he was and plays excellently against Bateman’s chilling mystery man. It’s not a perfect movie by any means, but Carry-On sure is a thrilling one.

The Brutalist is grave, and it should be. This country would not be what it is without the greed, obsession, and fury that course through the veins of this nation. It’s a fitting epic for a country that tries to idealize a past filled with violence.

Hundreds of Beavers is unlike anything from this century or any before it, an act of filmmaking deeply rooted in passion, effort, and beavers.

Black Box Diaries is a powerful reckoning and a celebration of persistence in the face of seemingly insurmountable odds.

My First Film is an ode to the messiness of creation, the bonds forged during marathon shoots, and the end product, abandoned or lauded.

When Dooba Dooba ends you might not fully understand what you just watched, but one thing’s for certain; you want to watch it again.

Nickel Boys is a once-in-a-generation feat of filmmaking that is as urgent as it is long overdue.

Nosferatu (2024) is much like Count Orlok’s castle. It’s a magnificent piece of visual artistry shrouded in a cold emptiness that cannot be ignored.

The times may be a-changin’, but A Complete Unknown follows the familiar beats of a biopic that doesn’t shake the establishment in the way its subject is so famous for doing.

Flow is an emotional rollercoaster that runs the gamut of the human condition through the eyes of a cat.

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.