The Phone Booth 

A pop star at Radio City Music Hall gets the opportunity to change herself to save her music career.

Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.

From the cinematography to the script to the acting, Sorry, Baby is undoubtedly one of the best films of the year.

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.

Taika Waititi and the cast of Thor: Love and Thunder have been hyping up the gayness of this movie, and while there are queer characters, it's not quite the representation we were hoping for.

Middle school best friends reunite in middle age - Magalie is a chaotic free spirit “freeloader”, Blandine is a divorcée “sourpuss” with severe depression. The Palm Beach Film Festival opening night was glamorous for “Two Tickets to Greece”, the first screening of the French film in the United States.