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. 

Megan Park’s My Old Ass is a fresh, high-concept coming-of-age story that effortlessly balances whimsy, heart, and introspection. The premise alone—a free-spirited 18-year-old Elliott (Maisy Stella) encountering her wisecracking 39-year-old self (Aubrey Plaza) during a mushroom trip—suggests a raucous comedic ride. However, what truly makes this film shine is its surprising restraint, focusing on the everyday challenges and triumphs of Elliott’s life rather than veering too far into the outrageousness the concept might imply. This tonal choice elevates My Old Ass into a deeply human and resonant story, making it one of the year’s standout films.

Jesse Eisenberg’s A Real Pain is a poignant and thoughtful exploration of family, identity, and the weight of inherited trauma. The film follows mismatched cousins David (Eisenberg) and Benji (Kieran Culkin) as they embark on a trip to Poland to honor their late grandmother’s memory. Their journey, however, becomes far more than a simple tribute as old tensions resurface, and the haunting legacy of the Holocaust intertwines with their personal struggles.

Sean Baker’s Anora, which deservedly clinched the Palme d’Or at this year’s Cannes Film Festival, is a poignant, raw, and unforgettable exploration of love, class, and identity. In typical Baker fashion, the film delves into the lives of individuals on society’s margins, presenting their stories with compassion, complexity, and a refreshing lack of judgment.

Oz Perkins' Longlegs is a chilling foray into the dark world of serial killers, occult mysteries, and the psychological toll of hunting the inexplicable. Starring Maika Monroe as FBI Agent Lee Harker and Nicolas Cage as the enigmatic Longlegs, the film crafts an atmosphere of dread that lingers long after the credits roll. Though it wears its influences on its sleeve—most notably Silence of the Lambs and the works of David Fincher—it manages to carve out its own unique place within the genre.

Thelma is a delightful and surprisingly poignant film that blends the heartwarming with the adrenaline-pumping, offering a fresh take on the action genre through the eyes of a 93-year-old protagonist. Directed with a blend of humor and heart by Josh Margolin, and based on his actual grandmother’s story, the film follows Thelma Post, played by the incomparable June Squibb, as she embarks on a daring quest across Los Angeles to reclaim the $10,000 stolen from her by a con artist. What could have easily been a gimmicky premise instead turns into a moving exploration of resilience, family, friendship, and the determination to fight back, no matter the odds.

Hit Man, directed by Richard Linklater and starring Glenn Powell, is a captivating blend of comedy, drama, and suspense that keeps viewers on the edge of their seats. This film tells the story of Gary Johnson, a mild-mannered professor who leads a double life as a pseudo-hitman for his city's police department. His unconventional job involves posing as a contract killer to, more or less, entrap those seeking to hire a hitman, resulting in a series of comedic and thrilling encounters.

Hit Man, directed by Richard Linklater and starring Glenn Powell, is a captivating blend of comedy, drama, and suspense that keeps viewers on the edge of their seats. This film tells the story of Gary Johnson, a mild-mannered professor who leads a double life as a pseudo-hitman for his city's police department. His unconventional job involves posing as a contract killer to, more or less, entrap those seeking to hire a hitman, resulting in a series of comedic and thrilling encounters.