Train Dreams is a quiet, devastatingly human film about labor, loss and our connection to the world around us.

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.

Sorry, Baby is a quiet, unflinching portrait of survival.

Marty Supreme is a breathless, brilliantly acted descent into obsession that never lets up.

Song Sung Blue is a feel-good tribute to music, resilience and the lives we build along the way.

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

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.

Even without any connection to car racing, F1 proves itself as a near-perfect crowd-pleasing sports film, balancing insider authenticity with broad accessibility.

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.

Spike Lee’s Highest 2 Lowest isn’t top-tier Spike, but it’s thoughtful, entertaining and packed with questions about legacy, culture and staying relevant.

Memories of Murder blends noir, social critique and dark humor in a way that continues to ripple through modern cinema.

There are movies that ask for your attention. Eddington grabs it—and doesn’t let go.

The Ballad of Wallis Island quietly transforms into a moving story about memory, music and the complicated kindness of strangers.

Good Will Hunting is not my favorite ‘90s movie, but a time capsule from an era when a character drama could still become a cultural moment.

Materialists isn’t here to sweep you off your feet. It wants to sit with you, make eye contact and ask if love is a feeling—or just smart financial planning.

I’ll always be biased when it comes to Forrest Gump. It’s more than just a movie to me—it’s comfort, nostalgia and a masterclass in American storytelling.

This isn’t Succession 2.0, and that’s a good thing. Armstrong may be finding his footing in the film world, but Mountainhead proves he's willing to take risks.

Oklahoma-made and emotionally raw, Close Enough to Burn hits all the right notes.