It’s a story that’s been told before, but one that is executed in such a thrilling, white-knuckle way that Birdeater sets itself apart from the crowd of similarly-themed films. 

“They made us strangers in our own land.” While No Other Land doesn’t explicitly state it, the documentary has found an answer to the animosity between Palestine and Israel. That is to meet people who are unlike you.

That’s what The Grab boils down to: how do we get people to give a damn? To even ask that question highlights a disappointing reality of the state of humanity, and it’s not a new question at all.

The Last Showgirl is a showcase for Anderson and a celebration of a light still burning bright.

The Order is bleak, and it should be. As a society, we must reckon with the realities of the world that have been brewing for hundreds of years.

Queendom is a subversive look at an artist who refuses to give up the fight.

Sugarcane is compassionate, yet damning, a delicate balance of genocidal exposé and a space to heal.

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.