Hoppers is a wildly weird eco-adventure that proves Pixar still thrives when it takes bold creative swings.

Revisited Christopher Guest’s classic Best in Show as a tribute to Catherine O’Hara and discovered it doesn’t fetch quite like it used to.

The Devil Wears Prade is a stylish deep dive into ambition, sacrifice and the boss everyone fears.

Tin Cup isn’t a movie swinging for cinematic immortality. But what it is—and what makes it work—is a tremendously good hang.

Bugonia is a darkly absurd clash between conspiracy thinking and corporate polish. Equal parts funny, scary and exhausting.

Jay Kelly is a contemplative, imperfect character study about fame, sacrifice and the cost of getting exactly what you want.

People We Meet on Vacation: Charming leads, skipped vacations, and a rom-com that forgets what genre it wants to be.

The Proposal is a comfort-watch rom-com that’s forever tied to newlywed memories and familiar tropes done right.

Roofman is a tender, throwback crime story that trades flash for heart.

Wake Up Dead Man is a Knives Out mystery that goes for the soul, not just the solution.

Ella McCay is a forgivable late-career misfire that still flashes the wit of a legendary filmmaker, even if the world he builds never quite feels real.

Oh. What. Fun has a stacked cast, a tired premise and a holiday movie that never earns its chaos

A Man Called Otto really wants you to cry. And somehow, even with my tender heart, I stayed dry eyed. Tom Hanks delivers, but Mariana Treviño is the true standout. The themes are meaningful, but the story plays out exactly as expected.

Stationed at Home is a quiet, poetic Christmas Eve story that trades holiday cheer for something more honest and human.

I revisited Gremlins after hearing that Gremlins 3 is officially in production, and it turned out to be the perfect mix of spooky and festive.

Seeing Back to the Future on the big screen for its 40th anniversary was pure movie magic.

Ambition, chaos and Hollywood dreams collide in Don’t Trip, Alex Kugelman’s bold and funny feature debut.

Started spooky season with Death Becomes Her—a glossy, campy reminder that vanity never dies, but good satire always finds a way to live forever.

One Battle After Another is not only one of Paul Thomas Anderson’s finest achievements. It is one of the best films of the year.

Dark, awkward and hilarious — Friendship shows just how strange and fragile adult friendships can be.