Are we still the same person we always were if we allow ourselves to be vulnerable? Thelma wholeheartedly says yes. That we are at our best when we allow ourselves to be emotional, to try and fail, and to get right back on the electric scooter when we fall off.

There’s still space in this world for the lessons The Hunger Games can teach us about the way we consume media and news, but The Ballad of Songbirds & Snakes is not clear enough in its vision to be as impactful as its predecessors.

All Dirt Roads Taste of Salt is visual proof of the ways history expands and repeats itself, and of how it’s possible to love and cherish memories without living in the past.

Eileen is a psychological thriller that proves to be all smoke and mirrors.

Butcher’s Crossing is a distillation of the myth of the American Dream, a critique that still holds true today.

Wonka should have the maximalism of the Wachowski Sisters’ Speed Racer. Few movies have the freedom to go absolutely off the wall. Wonka is one of them, but you wouldn’t realize that in this execution.

Saltburn is not quite the Hitchcockian psychological thriller the trailer built it up to be, but that doesn’t mean it’s not without its own merits. Saltburn is an ugly, shallow, and immaculate tale of obsession.

Michael Mann’s Ferrari takes the audience into Enzo’s world as every aspect of his life is teetering on the edge of collapse.

Fallen Leaves shows the work it takes to change, the stumbles along the way, and the beauty of earnestness. It reminds us that no matter how old we grow or how bleak our surroundings, we must not forget to hope.

The Iron Claw is an American epic by way of a Greek tragedy. It’s a reminder of the power of family, and how that power can be both lifesaving and life-ending.

In the best way, All of Us Strangers is devastating. The sort of simple-on-paper film that packs an absolute emotional wallop, a true gift of a film.

While there’s nothing outright graphic or gruesome happening on screen, May December is unbearable. The false sense of breeziness is actually stiflingly heavy.

Much like the lead character of Neil, Cautionary Tale marks an exciting beginning for director Christopher Zawadzki.

Under the Influencer will take audiences back to being twenty-five and allow them to feel all the loss, potential, and hope that come with that terrible, beautiful age.

Monster is nothing short of a masterpiece, a deeply moving damnation of the effects of shame.

As epic in scale as Napoleon is, the film feels cold and removed from the man himself.

Disfluency has all the warmth of Lady Bird and the urgency of Never Rarely Sometimes Always. It’s quietly confident, a reminder of the essential nature of storytelling.

War Pony is a vivid portrait of loss, hope for the ever-elusive future, and the ways communities come together and fall apart.

A round-up of Oscar-qualifying short films featuring animation, documentary, and narrative works.

Priscilla is nowhere near as bombastic as Elvis. It’s the quiet, nuanced story of a young girl whose kindness and naïvité were taken advantage of in the name of a man’s desire for fame.