Seth Gordon’s Back In Action marks the return of Cameron Diaz to the big screen after a decade-long hiatus, alongside the ever-charismatic Jamie Foxx. The premise of the film is intriguing enough: Emily and Matt, former CIA spies who left the covert life behind to start a family, are thrust back into the dangerous world of espionage when their cover is blown. On paper, it has all the elements of a compelling action-comedy—high-stakes action, an emotionally resonant family angle, and two seasoned leads with undeniable chemistry. Unfortunately, the final product falls far short of its potential.

In Conclave, director Edward Berger crafts a masterful political thriller that unfolds within the Vatican's hallowed walls, blending the grandeur of faith with the suspense of power plays and secrets. Following the death of the Pope, Cardinal Lawrence (Ralph Fiennes) is thrust into the center of a high-stakes election to determine the next leader of the Catholic Church. However, as the conclave begins, Lawrence stumbles upon hidden truths about the deceased Pope that could not only derail the election but shake the very foundations of the Church itself.

Gia Coppola’s The Last Showgirl is an intriguing, intimate character study that captures the melancholy and resilience of reinvention. The film, centered on a seasoned showgirl grappling with the abrupt closure of her show’s 30-year run, is more than just a narrative about the end of a career. It’s a reflection on identity, purpose, and the inevitability of change. While the movie occasionally suffers from an unfocused narrative and a meandering pace, these aspects seem almost intentional, mirroring the disorientation of its central character.

Marielle Heller’s Nightbitch, starring Amy Adams, had all the ingredients to be an audacious exploration of motherhood, identity, and the sacrifices demanded by domestic life. Based on Rachel Yoder’s acclaimed novel, the film promised a surrealist take on a woman unraveling the complexities of her existence after pausing her career to embrace stay-at-home motherhood. Yet, despite its intriguing premise and Heller’s previously lauded directorial efforts (Can You Ever Forgive Me?, A Beautiful Day in the Neighborhood), Nightbitch ultimately disappoints, falling short of its ambitious goals.

Sing Sing is a profoundly moving exploration of resilience, humanity, and the transformative power of art, inspired by a true story. Directed with a commitment to authenticity, the film immerses viewers in the lives of incarcerated men who find purpose and connection through a theater group within the walls of the infamous Sing Sing Correctional Facility. What emerges is not just a story about imprisonment but about liberation—of the mind, spirit, and humanity.

From renowned auteur Jacques Audiard (Rust and Bone, A Prophet) comes Emilia Pérez, a genre-defying cinematic marvel that reimagines the musical as a visceral, emotionally charged odyssey. Set in Mexico, the film blends liberating song and dance, striking visuals, and a poignant exploration of identity, freedom, and authenticity. This audacious tale follows the intersecting lives of four remarkable women, each navigating their own pursuit of happiness.