Christy Lemire

Hamnet actually works best as a sensory experience, before its major plot points fall into place.

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.

All of it is done capably but without much panache; worst of all, the boxing sequences feel rudimentary, lacking both artistry and savagery.

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.

Last Days is a scattered, superficial depiction of a sad tale that requires deeper analysis.

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.

Everything about “The History of Sound” is restrained to a fault—until it’s about the music. And then it bursts with passion and pure emotion.

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.

As the film trudges toward its conclusion, it’s one frustrating scene after another like that. And by the end, you’ll realize the clever opening title sequence was probably the best part of all.

The Pickup is as generic and forgettable as its title suggests: a bland action-comedy that will surely end up being one of the year’s worst movies, if only for the egregious way it squanders its talented cast.

Eventually, though, the whole effort feels chaotic, crammed as it is with uninspired pop culture references and way, way too many fart jokes, even for a movie aimed at kids.

These moments remind us of the mindless summertime excitement the “Jurassic” movies have long provided, albeit with diminishing returns. But that giant footprint just isn’t as imposing as it used to be.

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.

The best thing about “Invader” is that it’s short. But for much of its 69-minute runtime, it is thoroughly unpleasant, which makes it feel much longer.

Pretty much everyone in this movie is annoying all the time, and Spindel yanks us around in tone from one moment to the next: wacky, then romantic, back to wacky, then dramatic, before ending on a disastrously wacky note. Every new situation, whether it’s shopping at Toys “R” Us, a school field trip or a pre-natal therapy workshop, provides the set-up for wild humor that doesn’t land.

Like Father Like Son is at once unintentionally hilarious and borderline reprehensible, and it’s the closest approximation to the disaster of “The Room” since Tommy Wiseau’s cult favorite first graced arthouse theaters over 20 years ago.

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.

Back in Action isn’t as obnoxiously soulless as “Red Notice,” but it’s firmly within that subgenre of glossy, globetrotting action pictures you can stream while you fold your laundry. It all feels so cynical.

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.

Particularly at a time when women’s rights are in jeopardy here in the United States and around the world, “Dirty Angels” represents a blown opportunity to say something meaningful amid the mayhem.

Being a mom is hard, a universal truism that "Nightbitch" explores in ways that are occasionally inspired but mostly blunt and banal.

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.

When it leans hard into the inherent absurdity of its wacky, mismatched buddy antics, “Venom: The Last Dance” can be a total blast. Unfortunately, that doesn’t happen nearly as often as it should.

Shrill, frantic, and hideous to look at, “Gracie & Pedro: Pets to the Rescue” isn’t just one of the worst animated movies of the year—it’s one of the worst movies of the year, period.

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.

This sluggish tale of remorse and forgiveness mostly remains bland and distant, like the many generic aerial shots of Rome that it offers.

The Deliverance would have worked just fine if it had functioned solely as a domestic drama infused with the thorny, real-world issues of addiction, poverty and racism.

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.

Cuckoo gets more confusing the more it explains itself. The further writer-director Tilman Singer goes in articulating the strange goings-on that drive this stylish, unsettling thriller, the less compelling it becomes.

Anyone who’s dealt with a teenager can relate to the baffling surliness that emerges out of nowhere — but like needless sequels, this, too, shall pass.

Tonally messy and overlong, director Greg Berlanti’s film ultimately squanders the considerable charms of its A-list stars, Scarlett Johansson and Channing Tatum, who are individually appealing but have zero chemistry with each other.

The style remains firmly in place – this time, it’s a lurid look at Los Angeles in the mid-1980s – but there’s nothing underneath it.

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

Aïnouz rarely builds tension through these machinations; surprisingly, given what’s at stake, “Firebrand” is often a bit of a slog.

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.

Unsung Hero could have used more of such emotional honesty. But it ultimately must deliver a broad uplift that’s palatable for the whole family, so it tends to skim the surface.

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.

Like Slimer shoving snacks in his ravenous maw, “Ghostbusters: Frozen Empire” tries to cram way too many characters, storylines and iconic images into its two-hour runtime.

It lacks both the delicate artistry and warm wit of its predecessors. The subtle sense of spirituality is long gone; in its place are frantic action sequences. Whereas the previous movies operated on various levels to resonate with adults and entertain kids, this one is geared mainly toward younger audiences in ways that are frequently silly and insubstantial.

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.

There’s no real tension in this murder mystery (or much mystery, for that matter), the kills aren’t clever, and eventually this part of the story ends up feeling entirely unnecessary.

Within the muchness of it all, there are both occasionally thrilling moments and too little in terms of substance.

Lift is as generic and forgettable as its title, the kind of glossy, empty action picture that Netflix just keeps pumping out, whether we need it or not.

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.

It brings me absolutely no joy to report that The Marvels is terrible, and the worst film yet in the Marvel Cinematic Universe.

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.

Rich in atmosphere but short on substance, director and co-writer Gareth Edwards’ film has the look and tone of a serious, original work of art, but it ends up feeling empty as it recycles images and ideas from many influential predecessors.

It’s more of the same, without any discernible improvement in quality, despite the massive technological leaps over the past two decades.

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.

Given that she’s one of the greatest actresses of her time, Mirren naturally finds ways to reveal glimmers of humanity in her portrayal of former Israeli Prime Minister Golda Meir. But the artifice of her physical transformation too often smothers her, resulting in a stoicism that makes her an elusive figure.

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.

Dazzlingly impressive from a technical perspective but frustratingly dull from a narrative one, Medusa Deluxe is an ambitious but uneven experience.

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.