10. ‘Weapons’ (Dir. Zach Cregger)

Over the summer, word began circulating about a horror film which promised memorable scary moments, an unbelievably creepy antagonist, and the admittedly silly image of a bunch of possessed children running through the streets with their arms outstretched like airplanes. Nevertheless, the film delivered on more than just these promises, offering a story that is at once terrifying, hilarious, and surprisingly thought-provoking. “Weapons,” Zach Cregger’s second horror film, follows a town left searching for answers when a group of children vanish in the middle of the night, all having run out of their own homes and into the darkness. As the mystery unfolds, the film’s central characters are forced to reckon with questions of guilt, blame, parenthood, privacy, and trust. Ultimately, “Weapons” is a film worth much more than its mysterious plot and healthy supply of successful jump scares. As is any filmmaker’s ultimate goal, “Weapons” succeeds in leaving the viewer to endlessly question, interpret, and discuss what the film is truly about. —Nell G. Cunningham

9. ‘Zootopia 2’ (Dir. Jared Bush and Byron Howard)

Nine years after the original movie, the animated animal city of Zootopia returns to screens with “Zootopia 2,” directed by Jared Bush and Byron Howard. In an effort to preserve the animal utopia, Officer Judy Hopps (Ginnifer Goodwin) and Nick Wilde (Jason Bateman), now officially partners at the ZPD, work together to recover a stolen journal. The sequel differs with its introduction of reptiles — an animal subgroup that has been ostracized within the city for generations — such as Gary De’Snake (Ke Huy Quan), who helps to expose a conspiracy and reveal the dark truth which lies beneath Zootopia’s dazzling surface. The film also features reappearances from fan favorites such as Flash Slothmore (Raymond S. Persi), Gazelle (Shakira), and, of course, Mr. Big (Maurice LaMarche). “Zootopia 2” does an impressive job of weaving in important lessons about discrimination, fighting for one’s beliefs, and questioning who controls a historical narrative. Chock-full of laughable moments for younger audiences as well as knowing jokes for adults, “Zootopia 2” found incredible success, becoming the fastest animated and PG-rated movie to reach $1 billion at the global box office. —Najya S. Gause

8. ‘Hamnet’ (Dir. Chloé Zhao)

Based on Maggie O’Farrell’s book of the same title, “Hamnet” is pitched as the story of how the death of Shakespeare’s (Paul Mescal) son Hamnet (Jacobi Jupe) spurred him to write “Hamlet.” Even with this knowledge, nothing can prepare viewers for the sheer emotional toll that this film inflicts, culminating in one of the most devastating finales in recent cinema memory. At its center is Agnes Hathaway (Jessie Buckley), Shakespeare’s wife, who is almost nymph-like in her visceral connection to nature. Their son’s death drives the two apart — with Agnes directing her anger at Will for his not being there. Unable to verbally articulate his sorrow, Will ultimately finds the only language he can: Immortalizing his son and saying his long-awaited goodbye through the tragedy he pens. With powerhouse, Oscar-worthy performances by Buckley, Mescal, and brothers Jacobi and Noah Jupe (in an excellent case of meta casting), “Hamnet” is a poignant meditation on the power of art as a conduit for grief. —Capri S. Wayne

We reviewed “Hamnet” and gave it 5 stars.

7. ‘Frankenstein’ (Dir. Guillermo del Toro)

“Frankenstein” and Guillermo del Toro are a match made in heaven — so much so that it almost seems strange that he hadn’t made a film adaptation of Mary Shelley’s genre-inventing novel until now. The famous monster lover’s resulting product combines Shelley’s tale, the 1931 film, and new mythology of its own to create a uniquely campy, elegant, and visually arresting movie. Oscar Isaac and Mia Goth both give wonderful performances, with Isaac donning a sniveling, erratic attitude for the antihero interpretation of Victor Frankenstein and Goth inhabiting an otherworldly quality perfect for a gothic heroine. The star performance, however, belongs to Jacob Elordi as the Creature. Elordi brings incredible power and depth to the role, portraying the Creature’s journey from innocence to vengeance with great sensitivity. While “Frankenstein” is too explicit for audiences to leave pondering who is the monster and who is the man — spoiler alert, they’re exactly who you think del Toro would pick — the movie makes up for this in texture and taste. The film’s costumes, cinematography, and scenic design ooze style to an extent almost distracting, but firmly fabulous. A corpse, this film is not. This “Frankenstein” is absolutely electric. —Ria S. Cuéllar-Koh

We reviewed “Frankenstein” and gave it 4.5 stars.

6. ‘The Phoenician Scheme’ (Dir. Wes Anderson)

Poised yet witty, chic yet whimsical, “The Phoenician Scheme” offers a much-needed return into the eclectic and the quirky world of Wes Anderson, replete with spies, nuns, assassins, and tutors. Starring Benicio del Toro, Mia Threapleton, and the director’s usual cast of immensely famous actors, “The Phoenician Scheme” follows a wealthy magnate’s close encounters with death and his grapples with morality. While the film may be closer in general critical acclaim and reception to Anderson’s “Asteroid City” than, say, “The Grand Budapest Hotel,” “The Phoenician Scheme” marries fantasy with realism, never letting one forget the magic of cinema. —Thomas A. Ferro

5. ‘Sorry, Baby’ (Dir. Eva Victor)

Heartbreaking, tender, and at times darkly humorous, “Sorry, Baby” is a touching story about loneliness, trauma, and the never-ending task of learning to heal and move on. The film’s writer and director Eva Victor stars in the leading role as Agnes, a literature professor living by herself in a quiet, wooded New England area. When her best friend Lydie (Naomi Ackie) comes to visit, bearing the news that she is pregnant, Agnes is forced to confront the fact that her own life, by comparison, has come to a standstill. Previously shackled by the unresolved trauma of being sexually assaulted many years prior, the film follows Agnes as she attempts to finally grapple with the pain that she has kept suppressed ever since. Despite being an independent film relying only on a small cast, a relatively low budget, and a limited selection of shooting locations, “Sorry, Baby” is an emotionally resonant masterpiece which manages to hold its own among the year’s biggest budget Hollywood blockbusters. —Nell G. Cunningham

4. ‘Rental Family’ (Dir. Hikari)

Inspired by a genuine business service in Japan, “Rental Family” has an absurd but alluring premise — struggling American actor Philip (a phenomenal Brendan Fraser) is hired by a rental family agency to act as a “stand-in” family member or friend for its clients. Directed by Japanese filmmaker Hikari, the film is beautifully shot and well-paced, drawing laughs as Fraser fumbles his way through his assignments and, of course, crosses the wires between the professional and personal. But the real heart of the story is Fraser’s long-term job acting as Mia’s (Shannon Gorman) father, to better her chances of being enrolled in a competitive private school. At once hilarious and contemplative, “Rental Family” interrogates what it means to form authentic human relationships and the quotidian performances that we put on and put up with. —Angelina X. Ng

3. ‘Superman’ (Dir. James Gunn)

With comic-accurate costuming, set design, and a whole lot of heart, James Gunn’s “Superman” brings new life to the superhero genre. Rather than following the untouchable, knight-in-shining-armor plotline, Gunn reframes the hero as someone grappling with his identity and purpose in a messy, less-than-perfect world — a decision that connects the audience with Superman in a far more meaningful way. As for how well Gunn’s intention comes across, David Corenswet was impeccably cast. Beyond holding the perfect stature and physique for his character, Corenswet embodies Superman through a sincerity with line delivery that makes his desire to be of service to his city entirely evident. Rachel Brosnahan’s Lois Lane brings a refreshing fierceness to the “Superman” world, where Lane is showcased as an ambitious character with real questions and impact rather than solely being a romantic interest. Equally striking is Nicholas Hoult’s Lex Luthor. With a disdain for Superman on the basis of his good deeds, Hoult’s chilling supervillain feels plausible rather than unrealistic. “Superman” highlights the importance of being hopeful and seeing the beauty of a diverse society, and Gunn brilliantly conveys that message with his direction — now that’s the real punk rock. —Emily G. Fallas-Chacon

2. ‘One Battle After Another’ (Dir. Paul Thomas Anderson)

This film had to be part of our rankings; its prevalence today is undeniable. “One Battle After Another” follows Bob Fergusson (Leonardo DiCaprio), a former revolutionary, as he confronts and fights his nemesis in a desperate attempt to bring back his missing daughter, Willa (Chase Infiniti). Strong performances from the whole cast and striking cinematography carry the film even when themes grow heavy. Yet for the movie’s ambitious message, it remains remarkably accessible to the general audience — easy to find entertaining even if you don’t think too hard about it. “One Battle After Another” is probably one of the strongest action comedies out there, making it truly a standout for this year. —Anastasia Poliakova

1. ‘Sinners’ (Dir. Ryan Coogler)

“Sinners,” Ryan Coogler’s vampire horror film starring Michael B. Jordan, Hailee Steinfield, and Miles Canton, was hotly anticipated — and when it came out in theaters on April 3, it did not disappoint. The film follows Jordan as lawbreaker twin brothers Smoke and Stack as they confront a vampiric evil in the Mississippi Delta. Creative, ambitious, and downright frightening, Sinners is a modern approach towards the period piece that is brilliantly executed as it explores pivotal themes like power, redemption, and religion. The soundtrack of the film blends classic and contemporary through blues, folks, and songs from artist Don Tolliver. —Caroline J. Rubin