Alex Harrison

Fixed is fun while it lasts, more so than you might expect going in. Its most lasting effect on me might be a longing for more traditional, hand-drawn, 2D animation from our major studios, and anyone who might feel similarly shouldn't let this movie pass them by.

If Infested suffers from anything, it's that Vaniček makes its characters and themes too real, and the monsters can't keep up.

Joker: Folie à Deux is not always fully thought through. This is why the original was often misread in the first place. This film is full of quality craftwork, performances, and images. There's much here to appreciate, especially visually, and I enjoyed my time with it. But I'd recommend not asking much more of it than that.

If One Fine Morning offers no great revelations, it is full of echoes, parallels, and sparks that leave the viewer activated beyond its runtime, perhaps engaging with the world a little more thoughtfully than they were before watching.

This is not a biopic of an artist so much as a human artwork, capturing the many questions he provokes and the contradictory answers that define him.

It's a lighthearted, empathetic film that multiple generations of family can see together and all find something worth taking with them.

Roberts' film succeeds where much contemporary coverage failed because of how invested it is in the difference between laughing with him, as the audience is taught to do, and laughing at him.

Companion wants to surprise you, but has no real interest in trying to outsmart you.

Equal parts creepy, funny, and impressive, Wendell & Wild (despite being inexplicably rated PG-13) is an ideal watch for the whole family this Halloween.

There is a modest feeling to There There, and the emotional impact of its actual content might display the limits of this extreme methodology, but its (smartly brisk) runtime is hardly too steep a price to see a small movie explore such big questions with such clarity.

A lot happens, story-wise, but if the film had just followed Sylvia and Saul learning how to be around each other, it would've been enough.

Beetlejuice and Delia are deployed just the right amount, each injecting the movie with their own flavor of chaos whenever things risk feeling stale.

Edgar Wright and Glen Powell are consummate entertainers, and they made this dystopian Stephen King movie as fun and guilt-free as they could.

Cameron has said in interviews that sharing directorial credit was his idea, and he repeatedly shows us why. In one pre-show scene, the two of them map out where to place the cameras to best capture a particular part of the performance; in another, Eilish explains to camera what she's after with the show's song-specific color scheme. This concert is a work of art, and Eilish is its director – with this film, Cameron is less striving to create his own art than to capture Eilish's.

In the moment, I thought it was very successful, and quite moving. In retrospect, however, the lens that we're forced to view the film through cheapens what we actually spent most of our time watching. Omaha can't really be seen the same way twice, but it's well worth it for that first viewing experience – and for John Magaro's performance, which will surely be some of the most quietly powerful work of the year.

Writer-director Lee Cronin holds onto the essential mythology while bringing in elements from a host of other influences, including the Evil Dead series, The Exorcist, and Hereditary, to try and shake up what mummies can be on screen. Discovering the true nature of this film's mummy, and what it's capable of, is part of the fun. The result isn't quite a 28 Days Later moment – one way to understand the film's full title is that this feels like one filmmaker's interpretation of a classic monster, rather than a new template for others to follow – but it's definitely the scariest a mummy movie has been in years.

The cast deserves real credit for that, Biscayart especially. His physical expressiveness is truly extraordinary, and without his performance to transition us to the final act, Kill the Jockey doesn't succeed.

Corrigan approaches his film's many user interfaces with a show-don't-tell philosophy. Every click, every keystroke, is treated like an opportunity to reveal personality. It not only keeps the screenlife conceit interesting, but makes it feel vital.

Silent Night winks at us as often as it tries for genuine drama, and whichever tone you choose to accept will likely determine whether you have as much fun with it as I did.

I do not regret having seen it, and with all there is to recommend it, I feel comfortable suggesting you seek it out upon release. But do so with tempered expectations.

Landon's latest will be best remembered for its multiple laugh-out-loud set pieces, and with the craftsmanship and performances on display, viewers will likely be willing to forgive its less-impactful stretches.

It's possible to watch this movie thinking mostly of what could have been – if the script was as deft as it sometimes pretends to be, this had the makings of a truly great thriller. But The Rip is a good time when experienced on its wavelength, and worthy material for a relaxed night in.

While it has its weak spots, A Family Affair holds together well enough to entertain.

What I connected to wins out over what I didn't – I have enjoyed sitting with its ideas, and there are a couple flourishes that will stick with me.

The bottom line: even with some inconsistencies, Drugstore June is funny. It creatively approaches a deceptively ambitious setup and doesn't overstay its welcome.

While The Gorge is (ironically) fairly shallow, it offers some strikingly designed genre thrills and is powered by two charismatic stars.

Garner's performance is the heart of this, and if the movie were told entirely through her eyes, I think you'd have the compelling layer of doubt that the film sometimes seems to want.

There's plenty to admire in Maria, and in Jolie's performance, but my connection to certain scenes shouldn't be mistaken for my being emotionally engrossed. In fact, I typically felt kept at a distance.