Caroline Siede

Despite its carefully measured comedic voice and the detail with which it depicts the IVF process, the film never quite manages to feel like something completely groundbreaking.

The burden of love is the fear of loss, and that unease is compounded when it’s tied to the inability to live as your authentic self. Meneghetti understands that loving someone isn’t just a joyous experience. It’s an anxiety-inducing one, too.

Whether or not the film fully lands will come down to how much you’re willing to give yourself over to its theatrical world. Like the immersive artform it’s examining, Madeline’s Madeline is frequently truthful and sometimes indulgent.

The frenzied, lustful energy of the film’s first half makes it one of the most thrilling cinematic experiences of the year and, though the slower, more mannered second half struggles to recapture that same sense of propulsion, there’s a purpose to that too.

Like a Diamond song, Song Sung Blue is a little corny and a touch overly familiar. But when it finds its wavelength, the good times never seemed so good.

As in all things, Lady And The Tramp is far more interested in raising complicated questions than in providing easy answers.

A wholly original story written and directed by women that thoughtfully explores the complexities of interracial love between people of color.

Even for those outside of the Disney musical demographic, Howard is a moving portrait of an artist taken too soon during an era tragically marked by those kind of losses.

For all its compelling individual elements, Encanto doesn’t quite manage to weave them together into something greater than the sum of its parts—which is especially frustrating given that the idea of communal support is a driving ethos of the film.

While the movie’s breadth-over-depth approach might have been more powerful as a short film, Love Me still delivers a unique blend of charm and existentialism across its 92-minute runtime.

Although The Half Of It mostly sticks to what’s swiftly becoming the Netflix teen rom-com house style (moody amber lighting, Wes Anderson-inspired framing, and nostalgia for John Hughes’ oeuvre), Wu creates several compellingly original images as well.

Though this particular trip hits a few creative speed bumps along the way, it’s buoyed by great comedic specificity and two (hopefully) star-making performances.

Come Inside My Mind is a moving, engaging portrait of a beloved comedic icon, but like Williams himself, it sometimes lacks focus.

Like the best musicals, Crazy Rich Asians joyously embraces a heightened aesthetic while keeping its story grounded in real emotional truth.

In joyfully embracing just about every tool in the movie-musical toolbox, Miranda crafts a fitting tribute to the act of artistic creation. And he might just make some musical converts in the process.

Rather than push animation forward, Zootopia 2 is content to be just another colorful kids’ movie about cute, funny animals in a big, frenetic world.

The script makes all of Bridget’s returning relationships feel wonderfully lived-in, and the film is all the stronger for it.

In the well-trod territory of fiction about rich men in self-induced emotional crises, the film stands as a worthy, if not exactly groundbreaking, addition.

Anchoring it all is horror darling Anya Taylor-Joy, who makes for a particularly icy Emma.

A cheerful, cheesy coming-of-age story that evokes the earnest films of the era in which it’s set, Blinded By The Light is not one for the schmaltz-averse. Yet as with Chadha’s "Bend It Like Beckham" and "Bride & Prejudice," there’s some appreciably meaty stuff beneath its toe-tapping, crowd-pleasing surface.

Despite its considerable charms, Ant-Man and the Wasp is decidedly not a must-see event. In fact, it sometimes feels less like a movie than an episode of an ongoing superhero TV series. But it’s a really, really good episode of that series. And it’s the perfect antidote for the gravity of Infinity War.

Even if The Current War is soft around the edges and a little soggy in the middle, there’s still something appreciably sparky at its core. As overstuffed and frenetic as the film is, in its best moments, The Current War manages to make an everyday utility seem just as magical as it did 120 years ago.

It’s possible to imagine a much more risk-taking movie than the one DuVall has made. But before a film can break the queer holiday rom-com mold, someone has to set it up first. And Happiest Season is a welcome starting point.

Like Miranda himself, We Are Freestyle Love Supreme has an exuberant theater-kid earnestness that will either prove endearing or grating depending on how you feel about backstage warm-up games and spontaneous sidewalk performances.

It’s an intriguing idea that results in a painfully by-the-books biopic. That being said, a gusty, heartbreaking turn from Renée Zellweger makes the exercise worth sitting through.

As with so many great onscreen romances, it’s not that All Of You is doing something that’s never been done before, just that it’s doing it really well, with a great pair of actors at its center.

Though it doesn’t entirely recapture the lightning-in-a-bottle magic of the original, To All The Boys: Always And Forever is a worthy sendoff for this well-loved series.

A thoroughly wacky 1945 screwball comedy that also doubles as a fascinatingly subversive commentary on conventional gender roles. It’s a bit of a hidden gem in the Christmas canon.