Arriving a mere two years after the first film scared up a minor success at the box office, Scott Derrickson’s Black Phone 2 leans into its lineage and then sharpens its teeth […]

Bugonia refuses the safety of well-worn genre fare and instead thrives in its own damp moral fog.

Life After (2025) lifts heavy in its turbulent journey through moral dilemmas.

It swings so big that its highs are much more memorable than its lows. 

The Smashing Machine is a star turn for Dwayne Johnson, and sadly, very little else.

If you’re absolutely craving a modern slasher, wait to stream it with friends, popcorn, and maybe a beer or two, but just don’t expect too much in the way of carnage or catharsis.

The joy of Splitsville is in watching its craziness unfold with no indication of where it’s going next, and I hope every person's first experience with it is as exciting as mine.

One Battle After Another is an instant classic: a restless, thrilling action flick that’s concerned not with some war in a fictional universe or far-off land, but an honest-to-god boots-on-the-ground war within modern America.

Even though Last Rites' final moments were somewhat heart-warming as a fan of the first two, its catharsis is wasted on something which could’ve been so much better.

If you’re into gorgeous Spanish cinema, understated dramas, the frustration of motherhood, and critiquing the inherent silent ableism of the hearing world, then Deaf is the film for you. 

Diamonds is about ambition, love and community. It celebrates the many hands that sew our lives together and work to create the art we pride ourselves on as a society. 

Sketch is a charming, chaotic blend of fantasy, gateway horror, and emotional earnestness - heartfelt and imaginative, leaving one with the sense that your own little creative scribbles might be worth keeping.

Pasa Faho, directed by Kalu Oji, is a much needed empathetic story of a father and son reconnecting across cultural divides. 

They say all is fair in love and war. But what happens when love is war? It’s Benedict Cumberbatch versus Olivia Colman in dark comedy The Roses.

I couldn’t take my eyes off the beautiful trans women on screen — and neither could the men depicted in this harrowing yet funny film.

Urchin isn’t concerned with a film-like “happy” conclusion to its character’s problems; it lets you marinate in the idea that things might not actually get better - and that was refreshing.

Sorry, Baby is a story of someone trying to live their life as best they can.

Imagine (2025) is a collaborative animation project […] that explores layered ideologies and Indigenous wisdom through the surreal journey of a teenager.

Blue Moon is a masterclass in writing and acting, and makes for another wonderful team-up between Linklater and Hawke.

Pavements is perhaps as interesting as its subject, which is to say they’re both easy-listening encapsulations of a mentality to artistry that I hope never goes away.