Audrey Fox

A thoughtful meditation on love and grief, Hamnet features career-best performances from Paul Mescal and Jessie Buckley, and is Zhao's most intimate work to date.

Its narrative structure keeps Weapons continually engaging, while its talented cast of actors brings depth to each character, making this one of the best horror films of the year. 

Despite its faults, it showcases how much sex scenes can be used to explore character beyond their mere ability to titillate (but don't worry, there's plenty of that as well).

Final Destination Bloodlines is a tremendous amount of fun, especially if you can see it in a theater (preferably with an audience willing to match its energy). I said that Final Destination offers no surprises, and yet this iteration of the concept is a pleasant one.

With Robinson doing his thing and Paul Rudd's straight man delightfully off-kilter in his own way, Friendship is a chaotic ride from start to finish.

The result is a cute but uneven production that doesn't live up to its impressively imaginative concepts.

Although the relationship between Craig and Drew Starkey, who plays his reluctant lover, is endlessly fascinating, the film doesn't do enough to explore it, instead taking an odd third act turn into an entirely different plot and dragging out every minute of its runtime with trippy, pseudo-intellectual visuals.

The plot, like Dylan himself, seems to be meandering, and while it's an interesting parallel, the end result is a film that feels more than a little listless whenever someone's not singing.

Emilia Pérez can certainly be messy, but it's rarely a mess, and many audiences might just fall in love with its audacious, chaotic energy.

It's a nice enough movie, and honestly it might just be the best possible version of a live-action adaptation of its source material. But if you're expecting anything more than an almost exact shot-for-shot remake, you may be disappointed.

Like many high-concept satire movies, it works best in its first act when it's still setting everything up, then it loses steam when it's not quite sure where to go with the idea. The end result is an uneven yet still entertaining satirical romp, bolstered by engaging performances from its top-notch cast.

Instead of a slightly silly, character-driven series that spins off Michelle Yeoh's Emperor of the Terran Empire character, we get a hastily thrown together buddy comedy that lacks any semblance of humor or, for that matter, buddies.

It features an excellent ensemble cast who bring tremendous heart to each of their cinematic segments, and represents Stephen King at his most sentimental and uncynical.

Rental Family is a clear crowdpleaser with a sense of humor and charm that will make audiences fall in love with it — if they're willing to accept its unvarnished sentimentality, that is.

With Paul Mescal taking on leading man duties, Gladiator II capitalizes on all the visual delights and heroic battles that make this genre — when done well — so enjoyable to watch.

If nothing else, Kinds of Kindness features three show-stopping performances from Jesse Plemons, giving Lanthimos a new muse to champion.

It's the incomparable Strong who steals the show as Cohn, the Pygmalion who carves Trump out of spray tan and ill-fitting suits to make him into the monster he becomes.

The film as a whole may be too sedate and ploddingly paced for some — a piano being moved back and forth, over and over again, across an elegant but lonely Parisian apartment, both literally and figuratively. But it's impossible to deny the raw emotional power of Jolie in the lead role.

There's enough here to win over audiences who loved the original film, particularly in its depiction of the endless bureaucracy of the Afterlife.

Black Phone 2 hits, it hits – and that's the case pretty much as soon as they make it up into the mountains. With clever set pieces that utilize Ethan Hawke to his best advantage as an even more disturbing Freddy Krueger, Black Phone 2 ups the creepiness factor.

As a frenetic, chaotic glimpse at the making of a doomed-to-fail sketch comedy series that has somehow lasted for 50 years, Saturday Night is a blast.

George Clooney and Brad Pitt have wonderful chemistry together, as always, and they make sense as two wily, slightly over-the-hill fixers, but Wolfs itself is relatively uninspired.

Florence Pugh and Andrew Garfield are both preternaturally likable, and it's their performances and chemistry together that helps We Live in Time stand out from the crowd. Even so, the film's gimmick and its two glittering stars aren't quite enough to elevate this into must-watch territory.

Jeremy Allen White, Jeremy Strong, and especially Stephen Graham do their level best, but they're let down by a bafflingly inept script and unimaginative filmmaking from Scott Cooper.

Novocaine is packed full of inventive action set pieces that are alternately gruesome, goofy, and sometimes even both at once. It may not be for everyone, but it kind of feels like the gold standard for this very specific brand of action comedy.

It's difficult not to fall in love with all of the characters in the film, and its breezy sense of humor makes Eternity a veritable crowdpleaser.

Although it has some bright spots, even flickers of chemistry between its stars Miles Teller and Anya Taylor-Joy, it's let down by repetitive action sequences, an uninspiring reveal, and dialogue that feels as though it was written by ChatGPT.

With go-for-broke performances from the always compelling Christian Bale and Jessie Buckley, both of whom can be safely relied upon to bring the weird when asked, The Bride! is fun to watch, even if its narrative leaves something to be desired.