All Reviews

The "lost film" is a winning comedy with meta commentary to boot. Shelved by Warner Bros. as a tax write-off and rescued by an independent buyer, Coyote vs. Acme turns out to be sharp, funny and unexpectedly profound.

Los Javis' historical epic is a poetic modern classic. A sweeping, formally daring meditation on queer erasure, historical memory and the cost of repression, anchored by a revelatory Guitarricadelafuente.

Zach Cregger's take is a compact and enjoyable survivalist horror. Austin Abrams carries a lean, atmospheric zombie thriller that finally cracks the video game adaptation curse, even if the humor occasionally breaks the spell.

Rodrigo Sorogoyen's heartwrenching latest delivers two masterful performances. Javier Bardem and Victoria Luengo are extraordinary in a father-daughter drama that refuses the comfort of reconciliation.

David Robert Mitchell returns with a vapid creature feature. An original concept and a strong cast can't rescue The End of Oak Street from lazy writing and a finale that undercuts everything before it.

One viewing only: a tepid rom-com with an intriguing premise. Monica Barbaro carries what she can, but Will Gluck's rom-com squanders a genuinely clever setup on generic dialogue and muddled stakes.

A solid Spidey entry, buried under continuity. Tom Holland remains the definitive screen Spider-Man, but thirty-eight films deep, the MCU's obligations increasingly crowd out the story actually being told.

A nearly great adaptation, missing its final gear. Christopher Nolan's The Odyssey is convincing, absorbing, and beautifully crafted, though it falls just short of standing alongside his very best work.

Disney reheats another classic, and it shows. This live-action Moana is a nearly shot-for-shot recreation that dilutes everything that made the 2016 original special, with only Catherine Laga'aia's charisma keeping it afloat.

A Hollywood love letter that actually earns its bananas. Pierre Coffin sends the Minions to 1920s Hollywood and delivers the best entry in the franchise since the first Despicable Me.

Curry Barker's debut lingers long after the credits roll. A richly layered horror film about desire, manipulation, and the damage we do, anchored by an indomitable performance from Inde Navarrette.

Kara Zor-El arrives. The film around her does not. Milly Alcock is magnetic as Supergirl, but a passionless script and studio interference squander DC's most promising new asset.