Christy Lemire

Wicked: For Good really sings where it counts: with the emotional ache of the fractured friendship at the story’s core.

The ultimate themes of forgiveness, reconciliation, and redemption shine through, and the joyous sight of Ye skipping through the corridors of the market is impossible to resist.

Guillermo del Toro would love “Stitch Head.” This animated, family-friendly take on the classic “Frankenstein” tale has a soft spot for its monsters, most of whom are soft and squishy themselves.

She Walks in Darkness can be a little confusing at times, and that’s probably intentional as we learn things alongside our conflicted heroine. But the fact that everyone believes what they’re doing is right is a notion that’s clear and complicated.

Imagine a cross between “Taken” and “Fargo” and you’ll get an idea of the chilly thrills “Dead of Winter” has to offer.

All these elements come together with a delicate tonal balance that would have been difficult even for veteran filmmakers to achieve. See “Twinless” with your other half, whoever they may be. This is a movie you’ll want to talk through with someone afterward.

If you’re seeing it with hopes of glittery escapism, based on its A-list stars and a trailer that prominently features a cover of Madonna’s “Material Girl,” be prepared that the result is a little sadder, a little more substantial. And that’s much of what’s so wonderful about it.

The documentary “We Are Guardians” tracks the constant conflict between the ecological and spiritual significance of this crucial section of Brazil and the commercial forces that brazenly invade to strip it of its resources.

Ghost Trail is an intimate study of trauma that plays with the gripping suspense of a globetrotting spy thriller.

Bonjour Tristesse works best as a sustained mood, as an evocation of long summer days that might not actually exist outside Eric Rohmer films and fashion magazine photo shoots.

April is as exquisite as it is excruciating: a film that will linger with you long afterward, but you’ll probably never want to watch it again.

The scratchy, VHS-quality visuals and cheesy graphics of the film’s opening suggest that we shouldn’t take any of this too seriously, but rather enjoy the lo-fi, ‘80s nostalgia trip. And a scrappy, underdog enthusiasm is unmistakable throughout.

The first feature from the longtime music video director has a ton of style, and signals from the beginning her confident use of framing, texture and color.

Picture This is a rom-com that’s more effective as com than rom, with several big laughs and a thoroughly winning lead performance from Simone Ashley.

What’s frustrating is that I totally agree with everything Bong is saying, I just wish he were saying it with a touch more finesse. Maybe they can do some fine-tuning in the lab for next time.

This is a persuasive piece of advocacy filmmaking, tucked inside a playful and profane comedy about female friendship. You’ll laugh. You’ll cry.

Regardless of where you fall on the issue, “Eternal You” is undeniably beautiful, with artful cinematography from Tom Bergmann and Konrad Waldmann that creates an air of mystery from the very beginning.

Every Little Thing is a kindhearted film for unkind times.

Once Carrey’s frenetic performances kick into gear, he gets to take this movie to incredibly strange places, ensuring that it will probably work for the adults in the audience as well as the little kids who dragged them there.

The razzle-dazzle that's Jon M. Chu's bread and butter is on glorious display in "Wicked," the big-screen version of the beloved Broadway musical.

Weekend in Taipei is a B-movie straight out of the 1990s: a trashy, splashy, knowingly over-the-top action picture in the tradition of Luc Besson, which is fitting, given that Besson himself co-wrote the script with director George Huang.

In what may be his final film, nonagenarian auteur Clint Eastwood has crafted a solid, old-fashioned courtroom drama with “Juror #2.” Always known for his efficiency as a filmmaker, Eastwood brings that same brisk energy to this suspenseful piece of storytelling.

Somewhere along the road between Montreal and Mongolia, Namibia and Nepal, Egypt and Ecuador, “Blink” achieves a transcendent state of grace.

Part of what’s refreshing about “A Different Man,” though, is that it never condescends to Edward—never treats him as magical or noble, the way many films do in depicting characters with disabilities.

What Megan Park has done with “My Old Ass” is so authentic and thoroughly winning that she breathes new life into a familiar genre.

It’s an earnest, crowd-pleasing family film – nothing snarky or self-referential, no on-the-nose needle drops - just a sweet, beautifully made movie that earns the emotion it’ll surely draw from its viewers.

Breillat’s approach is technically intimate yet tonally detached -- languid as a summer’s day, sometimes unbearably so, and often uncomfortably warm.

In directing her first feature, Contreras takes a straightforward approach to documenting the 2022 contest. She follows a handful of conductors from various points on the globe as they get ready for their big moment on the Paris stage. But within this traditional structure, she’s chosen her subjects well. They have a variety of experiences, personalities, and home lives that inform their art.

As a realistic portrayal of an all-consuming drive, it sticks the landing.

Young Woman and the Sea doesn’t reinvent the genre in any way, but it keeps us engrossed for every strenuous stroke.

Writer-director Frank Berry’s film never devolves into melodrama – if anything, it may be understated to a fault – but he grounds her plight in an authentic mixture of daily frustrations and sporadic joys.

Ethan Hawke attempts to breathe new life into the biopic structure with mixed results in “Wildcat.” What is certain is that he’s drawn a rich and multilayered performance from his daughter, Maya Hawke, in the starring role.

This is such a worthwhile story that we can’t look away, and Nélisse is so engaging that we don’t want to.

After deftly navigating a variety of tones, Rorhwacher places O’Connor’s Arthur at the center of a moment that’s truly surprising, and surprisingly poignant. In the process, with this film that feels suspended in time, she proves once again that she’s one of the most singular and artful filmmakers working today.

Within these oversaturated times for comic book movies, Madame Web is blissfully breezy in its pacing, which helps make it a more enjoyable watch than some of the super-serious, end-of-the-world fare we often see.

Producers Jason Blum and James Wan, both horror titans, once again show they know how to freak audiences out while maintaining a sly sense of humor.

The Iron Claw inadvertently shares a lot in common with the professional wrestling world it depicts. A lot of energy and passion clearly went into it, and there’s a drive to entertain and thrill, but it ultimately ends up feeling empty and superficial.

It’s as if “Barbie” were actually about Weird Barbie, but even that idea doesn’t quite do it justice. A more apt description is: It’s the best movie of the year.

Renaissance is both intimate and vast as it basks in Beyoncé’s impossible beauty but also turns the camera toward the audience to emphasize the powerful sense of community the Beyhive provides.

Directing and starring as the legendary composer and conductor Leonard Bernstein, Cooper has crafted a film that’s technically dazzling but emotionally frustrating.

An update of “The Talented Mr. Ripley” set in the mid-aughts, “Saltburn” is deliciously, wickedly mean—seductive and often surreal—with lush production values and lacerating performances.

“Snow always lands on top” is the longtime credo for Coriolanus and his family. The question of how it falls, and whether it sticks, makes “The Ballad of Songbirds & Snakes” a surprisingly suspenseful prequel.

What Happens Later doesn't reach the heights of Ryan’s beloved romantic comedies, but its sweet comforts might be just the ticket if you’re looking for laughter-through-tears on the couch on a Sunday afternoon.

Korem doesn’t uncover too much that’s new, but more than three decades later, he gives key players the opportunity to share their memories and perspectives. The passage of time provides frank reassessments—some tragic, some humorous.

It's a pretty standard story of sports uplift, a familiar tale of triumph over adversity.

Simply as a technical spectacle, Taylor Swift: The Eras Tour is a dazzling achievement, capturing the sensation of seeing the pop goddess’ sold-out concerts in all their enormity and intimacy.

If anything, the horror element of this horror movie is the weakest part, but Totally Killer is spry enough to remain enjoyable throughout.

A Million Miles Away is an inspiring movie based on an inspiring story told in an inspiring way. It’s a tale of literally astronomical success in the face of daunting adversity, and it’s important as a reflection of hard-won representation.

This is a movie that gleefully wallows in the ooey-gooey muck of its insane premise. Similar to “Cocaine Bear” and “M3GAN” (but not quite as successful), Slotherhouse knows exactly what it is and revels in increasingly hilarious violence.

Strays is pretty much a one-joke movie, one last romp at the end of summer. But it finds enough ways into that joke within its perfectly pithy running time to remain zippy and enjoyable.

Qhile this particular story takes place nearly a decade ago, it remains unfortunately timely as Russia’s horrific war in Ukraine rages on; Klondike helps put a specific, vivid face on a faraway conflict.

It’s a visual feast that succeeds as both a gleeful escape and a battle cry.

You may not walk out humming the tunes, but you’ll leave with a smile.

Whether you still know every word to “Wham Rap!” four decades later or only remember the British pop duo as “George Michael and that other guy,” you’ll find everything you want in the Netflix documentary Wham!

Because Users is so captivating from a technical perspective, it’s frustrating to discover how scattered it is narratively.

It’s still a movie about giant space robots talking trash and smashing into each other, but Transformers: Rise of the Beasts is better than most offerings in the franchise.

Holofcener finds both humor and wisdom within the complexity of her cringe comedy, providing rich fodder for conversations afterward. If anything, You Hurt My Feelings might be a little too short; it’s so well-paced and engrossing it just zips by.

In terms of underwater worlds, once you’ve been to Pandora, you can never go anywhere else. But the fictional Caribbean island where The Little Mermaid takes place is certainly a pleasant escape.

Yes, a mournful song is woven throughout, hence the title. But The Cow Who Sang a Song into the Future also requires great patience—it might be too slow of a slow burn—and there’s not much to her characters beyond a few barely sketched traits.

There are life lessons here to be learned and shared, for sure. But the film moves with such thrilling pacing it feels more like a celebration.

A Tourist’s Guide to Love is as harmless as its blandly forgettable title would suggest. It’s not quite a Movie to Fold Laundry To, because the scenery is quite lovely, so you’ll actually want to pay attention. But it is a pleasant escape if you’re seeking lazy Saturday afternoon viewing.

Harrison’s powerful performance and the chance to learn about this extraordinary artist make Chevalier more than worthwhile.

The material meant to beef up this story is so bland and underdeveloped it makes Renfield feel like a sketch concept stretched thin to feature length.

If you love movies about process, about people who are good at their jobs, then you’ll find yourself enthralled by the film’s many moments inside offices, conference rooms, and production labs.

French writer/director Léa Mysius concocts a compelling witch’s brew with The Five Devils, but the result doesn’t quite come together with the potency she’d desired.

Jordan has long since proven himself as an actor of terrific charisma, versatility and humanity; with Creed III, he shows he’s just as captivating on the other side of the lens.

While the suspense that had carried the film for the first two-thirds of its brisk running time dips as it nears its conclusion, Cocaine Bear still emerges as a hell of a high.

While Of an Age offers plenty of moody, melancholy atmosphere, it lacks the kind of characterization that would make this story truly devastating.

If the delightfully nutty “M3GAN” was a cautionary tale about the perils of relying too heavily on technology, “Missing” ends up being a celebration of its possibilities.

Puss in Boots: The Last Wish is as spry and light on its feet as its titular feline.

Indeed, the director of “99 Homes” and “The White Tiger” has proven a driving interest in telling stories that shine a light on injustice and cruelty. But here, the result suggests he’s dipping his toe into these enormous subjects rather than getting his arms around them in a smart and satisfying way.

The clever details, amusing name-drops, and precisely pointed digs at vapid celebrity culture keep Johnson’s movie zippy when it threatens to drag.

The Menu remains consistently dazzling as a feast for the eyes and ears.

Causeway ultimately may be a little too languid, too restrained, but there’s catharsis to be found in its quiet moments and fine-tuned performances.

You Resemble Me is at its strongest when it tries to humanize its misunderstood central figure in simple, intimate ways.

So much works so well for so long in “The Good House” that it’s frustrating when the film casts its eye elsewhere and begins paying way too much attention to the town’s peripheral figures.

Blonde abuses and exploits Marilyn Monroe all over again, the way so many men did over the cultural icon’s tragic, too-short life.

Even at a brisk 79 minutes (including credits), “Glorious” feels like an intriguing idea that’s been stretched thin to feature length.

At least all the lush trappings you’re looking for in an Austen adaptation exist here, as the story travels from stately Kellynch Hall to the quaint countryside of Uppercross to the dramatic cliffs of Lyme to the chic townhomes of Bath.

At first, the story is fascinating. Soon, it becomes dizzying. Quickly, it turns sickening. And eventually, it’s heartbreaking.

Raiff offers some impressive tonal mixtures and narrative surprises along the way, and even though his third act sags a bit, the performances—particularly from an achingly melancholy Dakota Johnson— remain compelling until the end.

The documentary from directors Tia Lessin and Emma Pildes briskly tells the story of The Jane Collective, which helped thousands of women obtain abortions when they were still illegal in the late 1960s and early ‘70s...the story of their daring remains frighteningly relevant nearly 50 years later as it appears that Roe is increasingly in jeopardy, providing an undercurrent of tension throughout.

Whatever your reaction is to the latest meticulously made mind warp from writer/director Alex Garland, it won’t be indifference. This is a visceral experience, and it reinforces Garland’s singular prowess as a craftsman of indelible visuals and gripping mood.

The story itself is so absurd and is told with enough surprises and dry humor that it’s constantly engaging.

Despite the familiar settings and tropes in director Sammi Cohen’s debut feature film, Crush feels refreshingly contemporary.

At the very least, The Bad Guys encourages kids not to judge a book by its cover—and maybe even read an actual book about these characters afterward.

As They Made Us is clearly a personal debut effort for Bialik, but she shows enough confidence behind the camera to make you curious about whatever other stories she has to tell.

This is the most beautiful Batman movie you’ve ever seen—even if it’s not really a Batman movie at all.

Copley’s performance remains riveting throughout. It’s a testament to his delivery and physicality that we can hear Kaczynski speak expansively about what he’s going to do, and we can watch him experiment with various explosives, and we’re still on edge, wondering what might happen.

Director Ruth Paxton puts you on edge from the beginning in “A Banquet,” and holds that unsettling mood throughout. But because the sound design is so vivid and Paxton’s eye for disturbing detail is so creative, it’s even more frustrating that the payoff is so unsatisfying.

While Dosch’s work is ever-changing but always accessible, Polunin never comes close to matching her acting ability, which ultimately leaves “Simple Passion” lacking.

The Spanish maestro knows precisely how to get all the colors out of his charismatic muse, and in turn, the veteran star takes his material and makes it feel both fiery and grounded.

The feature filmmaking debut from writer/director/co-editor Lauren Hadaway is an intimate and powerful sensory experience all around, but it’s the sound editing—Hadaway’s first calling, having worked with the likes of Quentin Tarantino, Zack Snyder, and Damien Chazelle—that grabs you off the top and envelops you throughout.

Paul Thomas Anderson’s golden, shimmering vision of the 1970s San Fernando Valley in Licorice Pizza is so dreamy, so full of possibility, it’s as if it couldn’t actually have existed.

Jagged rides the wave of that excitement, but avoids opportunities to explore deeper below the surface.

In recalling his youthful days in an insular neighborhood in the titular city, Branagh has made a film that’s both intimate and ambitious—his Roma, if you’ll forgive the inevitable comparison to Alfonso Cuarón’s recent masterpiece.

Ron’s Gone Wrong is an indictment of the invasive, insidious tactics of Big Tech, and of the ways we relinquish a little more of our privacy with every click and view.

It’s impossible to watch Introducing, Selma Blair and not feel deeply moved.