How I Learned to Fly reminds us that humans aren’t meant to go it alone. That the easiest thing a person can do is to offer help and the bravest thing a person can do is accept that help.

Even with its structural issues, it would be wrong to fully turn on the artistic feat that The Peasants has brought to the silver screen.

The film is so easy to sink into, but it’s missing the heartiness that could make The Taste of Things ultimately fulfilling.

Jellyfish and Lobster is for our friends, families, and loved ones who are no longer here. It’s also for those of us who are still here. A reminder that we are filled to the brim with life, and that one day it will all be over.

Ghostwritten is a Faustian horror story about the lengths a human will go to in order to be remembered.

Tonally, Argylle cannot find its groove. It falters as it desperately tries to one-up itself with a new twist every few minutes. This is not a plea for simplicity, but to streamline the plot so that Argylle could have been wackier, stranger, and goofier.

Mad Props is a loving ode to the things that bring us together and spark childlike joy within us.

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.