| LAT | RTMC | RTC | note: “~” = the film's name | |
| documentary | ||||
| Leaning Into the Wind: Andy Goldsworthy | yes | 100 | 100 | always worth the journey |
| Breaking Point: The War for Democracy In Ukraine | yes | 100 | 100 | the predatory invasion of the rest of Ukraine |
| Survivors Guide to Prison | yes | 100 | a valuable primer for those arrested | |
| Hondros | yes | 100 | combat photographer has something special to offer | |
| The Peacemaker | yes | 89 | 100 | sharpeyed |
| Itzhak | yes | 79 | 75 | a sprightly tag-along |
| The Homeless Chorus Speaks | yes | brief but potent | ||
| Where Have You Gone, Lou DiMaggio? | yes | A comic’s attempt to pick up where he left off | ||
| The Opera House | yes | A charming, convivial aria | ||
| The Redeemed and the Dominant: Fittest on Earth | yes | pure entertainment; feats of strength and speed | ||
| King in the Wilderness | yes | powerful | ||
| Wilde Salomé | yes | captivating, enjoyable, often edifying | ||
| Ramen Heads | so-so | 75 | 71 | brisk, uneven celebration of the soup-and-noodle staple |
| Our Blood Is Wine | no | 80 | a haphazard tasting | |
| Augie | no | 80 | lacks consistency, glosses over some moments | |
| In the Land of Pomegranates | no | 77 | 71 | feel[s] disorganized and overlong |
| Demon House | no | 50 | oddly muddled; pointless digressions; lousy | |
| ¡Viva Kino! | no | too confused about its component parts | ||
| Triumph: The Untold Story of Perry Wallace | no | suffers from repetition of anecdotes and ideas | ||
| animated | ||||
| Early Man | yes | 81 | 76 | *Offbeat, amusing |
| Isle of Dogs | so-so | 93 | 90 | *savage and soulful, mangy and refined |
| Sherlock Gnomes | so-so | 18 | 25 | a fairly serviceable animated feature |
| regular movies | ||||
| Black Panther | yes | 97 | 100 | *a royally imaginative standout |
| The Death of Stalin | yes | 96 | 97 | *a dazzling film that’s the blackest of farces |
| November | yes | 95 | 100 | braids together the primordial and the divine |
| The Green Fog | yes | 94 | 100 | a cracked, collage-like retelling of “Vertigo” |
| Outside In | yes | 94 | 94 | sharp and stirring |
| Loveless | yes | 93 | 97 | a marriage on cruel, unvarnished display |
| Love, Simon | yes | 92 | 88 | *Sweet, funny and disarming, |
| Journey’s End | yes | 92 | 72 | *WWI drama works remarkably well |
| We Not Cats | yes | 91 | 100 | funky, punky horror romance |
| Claire’s Camera | yes | 88 | 100 | a delightful, teasing wisp of a tale |
| Annihilation | yes | 87 | 80 | *a mind-bending foray into the unknown |
| Hannah | yes | 87 | 78 | Gorgeously and at times frustratingly austere |
| Thoroughbreds | yes | 86 | 90 | *a couple of sociopathic BFFs |
| Mohawk | yes | 84 | 75 | a gripping and despairing action picture |
| First Match | yes | 83 | 86 | provides moments to cheer |
| The Party | yes | 83 | 81 | *wickedly fun |
| Pyewacket | yes | 81 | 60 | about the hells people conjure for themselves |
| Goldstone | yes | 80 | 100 | a tangy chew of socially conscious Outback Noir |
| Unsane | yes | 79 | 81 | *diabolically shrewd and spooky psychological thriller |
| I Kill Giants | yes | 78 | 90 | *assured, compelling filmmaking |
| Gemini | yes | 77 | 74 | *A moody noir pop-up |
| Don’t Talk to Irene | yes | 75 | 80 | uplifting tale about an outsider |
| The China Hustle | yes | 74 | 73 | a sound case for greater regulation of financial systems |
| Double Lover | yes | 72 | 89 | psychosexual thriller is a twisty, trashy delight |
| Final Portrait | yes | 72 | 70 | *an involving examination of the creative process |
| Back to Burgundy | yes | 71 | 78 | A full-bodied film to savor |
| Golden Exits | yes | 68 | 70 | Unhappy lives and painful truths |
| Caught | yes | 67 | a retro style and sharp hook | |
| The Housemaid | yes | 63 | Classy-trashy fun horror-romance | |
| They Remain | yes | 60 | 57 | makes the natural feel threateningly alien |
| Foreign Body | yes | 60 | accomplished survival tale | |
| The Boy Downstairs | yes | 57 | 67 | taps into a rarely broached coming-of-age dilemma |
| The Young Karl Marx | yes | 54 | 27 | audacious, engrossing |
| Submission | yes | 51 | 50 | tart, rueful and keenly observed |
| Tomb Raider | yes | 49 | 43 | sturdy, serviceable new action extravaganza |
| A Wrinkle in Time | yes | 39 | 49 | reaches boldly for stars |
| The Monkey King 3 | yes | 33 | generous with images that make audiences go "Oooh!" | |
| Madame | yes | 30 | 33 | offers up some wicked fun and deft social commentary |
| 7 Days in Entebbe | yes | 22 | 24 | gripping political thriller |
| All I Wish | yes | 16 | 33 | light-as-air |
| Pickings | yes | visually arresting, wickedly entertaining crime drama | ||
| Golden Slumber | yes | rare chase picture; rich detail | ||
| Salomé | yes | a well-shot and edited theater piece | ||
| Oh Lucy! | so-so | 100 | 100 | a sharp vein of absurdist comedy; bitter, melancholy undertow |
| Midnighters | so-so | 92 | 100 | plays like “Blood Simple’s” less proficient kid brother |
| Roxanne Roxanne | so-so | 74 | 70 | disorienting gaps; brilliant sequences |
| Beauty and the Dogs | so-so | 71 | 57 | fever pitch begins to feel at odds with its artistry |
| Finding Your Feet | so-so | 70 | 79 | It’s predictable, but cast shines |
| The Lullaby | so-so | 56 | tawdry B-horror | |
| The Lodgers | so-so | 52 | 38 | Short on scares but still haunting |
| The Last Movie Star | so-so | 48 | 22 | the overtly maudlin film works better than it should |
| The Hurricane Heist | so-so | 45 | 0 | incredibly ridiculous but entertaining |
| Pacific Rim Uprising | so-so | 43 | 41 | a bland, efficient, cheerfully witless sequel |
| Attack of the Southern Fried Zombies | so-so | 43 | isn’t all that scary or original, but ... | |
| The Strangers: Prey at Night | so-so | 38 | 29 | a stylish 1980s throwback that packs plenty of terror |
| Game Over Man! | so-so | 9 | Netflix: an unrepentantly raunchy throwback action comedy | |
| Hidden Light | so-so | an involving ride despite sometimes murky storytelling | ||
| Broken Ceiling | so-so | story elements are fumbled to the film’s detriment | ||
| Eat Me | so-so | simultaneously garish and sensitive | ||
| Apartment 212 | so-so | squeaks by thanks to its cast | ||
| The Happys | so-so | a cutesy classic Hollywood tale | ||
| Elis | so-so | beautiful but flawed | ||
| Gone Are The Days | so-so | something of a welcome sight, flaws and all | ||
| Then There Was Joe | so-so | need for much crisper comedy pacing | ||
| A Normal Life | so-so | authentic emotions and good intentions | ||
| The Outsider | no | 94 | 94 | Netflix: a slick copy of multiple, much-better films |
| A Bag of Marbles | no | 90 | 71 | slickly sentimental thriller |
| Poop Talk | no | 86 | avoid eating while watching | |
| Game Night | no | 82 | 78 | Making many bad moves |
| I Can Only Imagine | no | 70 | 20 | leaves out larger story of song's success |
| Beuys | no | 69 | 40 | fails to enlighten |
| Us and Them | no | 64 | 40 | more distracting than effective; underdeveloped plot |
| The Cured | no | 63 | 53 | An intriguing twist on zombies |
| Benji | no | 60 | 40 | Netflix: inevitable reboot is underwhelming |
| Every Day | no | 59 | 55 | film needs brain transplant |
| Half Magic | no | 58 | 60 | It’s giddy with empowerment |
| Flower | no | 52 | 42 | wobbly dark teen comedy |
| The Forgiven | no | 52 | 14 | sluggishly paced; disparate parts never come together |
| Red Sparrow | no | 47 | 37 | Spy games better left to the pros |
| Allure | no | 47 | 20 | feels haphazard and wraps up too neatly |
| Souvenir | no | 46 | this tale is glossy nonsense | |
| Paul, Apostle of Christ | no | 42 | 38 | A biblical slog that lacks passion |
| Gringo | no | 40 | 22 | The laughs end up going south |
| Nostalgia | no | 36 | 25 | Memories best ignored |
| The Chamber | no | 36 | Sea-floor voyage needs more thrills | |
| The Leisure Seeker | no | 34 | 14 | sticks to trite and true |
| Beast of Burden | no | 33 | isn’t worth struggle | |
| Irreplaceable You | no | 31 | 0 | swinging and missing at a version of "Love Story" |
| Birthmarked | no | 20 | 17 | Experiment needs some rethinking |
| Furlough | no | 20 | thin, meandering two-hander | |
| Looking Glass | no | 18 | 25 | plodding screenplay and tension-challenged execution |
| Death Wish | no | 17 | 8 | Packing heat but no sense |
| Midnight Sun | no | 16 | 15 | Romantic sparks sputter |
| Dear Dictator | no | 15 | 33 | a turkey of the first order |
| Mute | no | 14 | 7 | Netflix. atonal hodgepodge |
| Josie | no | 14 | a Southern-fried thriller that fails to deliver | |
| God’s Not Dead: A Light in Darkness | no | 13 | 14 | Story of faith is at odds with itself |
| The Vanishing of Sidney Hall | no | 9 | 0 | Only thing to vanish is interest |
| Curvature | no | 0 | Sci-fi is bogged in first dimension | |
| 7 Guardians of the Tomb | no | 0 | Better when it sticks to spiders | |
| Honor Up | no | a criminally inept '90s urban gangsta movie | ||
| Being Black Enough | no | Uneven take on race and identity | ||
| Days of Power | no | Mixed messages undercuts action | ||
| Agenda: Payback | no | a middling psychological thriller | ||
| Confessions of a Teenage Jesus Jerk | no | Uneven tale of coming of age | ||
| Tilt | no | shapeless, stumbling toward a frustrating ending | ||
| Dead on Arrival | no | nowhere near the vitality and urgency it needs | ||
| Shifting Gears | no | lurches, grinds | ||
| Barren Trees | no | clunky and confusing | ||
| Status Update | no | Lowbrow comedy adds nothing new | ||
| Fourplay | no | it betrays little understanding of how good plays work |