Emily Zemler

Comparisons aside, Mickey 17 is a remarkably solid and compelling sci-fi flick, with an absurdist flair that can only come from a filmmaker like Joon Ho.

There are questions and uncertainties that linger once the movie ends. But like difficult, repressed memories, there is no easy resolution to be found.

Even the film’s title lacks a much-needed punch. Ridley is a strong action heroine, but she deserves better material than this.

The Gorge is chaotic and fun, despite some narrative and design hiccups. It’s too bad it’s not heading for the big screen. This is the sort of thing you want to experience with a lively audience with the sound turned all the way up.

A film can exist for aesthetic value alone, but only if it doesn’t try to expand itself to unreached depths. In the end, Parthenope seems to assert is that beauty is unappreciated until it vanishes—a lesson we all learn too late—but like its lead character, the film remains too shallow to fully understand.

Companion offers a relatively surface-level thriller that asks far bigger questions than its easygoing vibe might suggest.

Diaz and her co-star Jamie Foxx are genuinely charismatic, often delivering lines with a winking sarcasm and likeability. But Back in Action muddles its tone too much to be actually funny, a detriment to the cast’s best efforts.

It’s occasionally diverting, sure, but so is killing time while you wait for your flight to board.

A Complete Unknown never really parses anything new about Dylan or reveals his psychology, instead letting us continue to wonder about the man behind the dark lens. It’s a thrilling, entertaining journey as we do, with performances that never falter by actors who clearly did the work and then let it go once on set.

Despite a lot of silliness, primarily thanks to Nivola’s absurdist performance as the Rhino, Kraven the Hunter is entertaining—far more so than expected based on Morbius and Madame Web. If only it wasn’t so convoluted or dragged down by extraneous characters. If only the CGI was better.

The screenplay, from Hailey DeDominicis, lacks the vibrancy you expect from a light-hearted holiday movie. Sure, there are a few genuine emotional moments and Lohan aptly gives Avery as much dimension as possible, but there’s only so much she and Chenoweth can do to liven things up.

It’s equal parts compelling, ridiculous and uproariously pleasurable, often to the point where you can almost hear director Ridley Scott shouting, “Are you not entertained?”

It’s not a flashy movie, and the vintage aesthetic sometimes feels unnecessarily dour, but it makes for good storytelling that embraces both our past and present concerns at once. And sometimes it’s the unassuming movies that manage to sneak up on you.

Katherine is searching for inspiration during her time in Morocco and, meanwhile, Dern should search for a better project.

Although the film centers on Trump, a divisive man and genuine threat to American democracy, Sherman and Abbasi leave space for The Apprentice to embrace larger themes. It’s about the possibility of corruption and how easily money and power can entice us.

It is both empathetic and brutal, but at the core is a hint of optimism. That despite our human instinct to create conflict, we could do better. In conveying this in such an original way, McQueen proves that there is always a new way to navigate a well-trodden path.

Like the book, Chris Sanders’ onscreen adaptation is compassionate, funny and filled with unexpectedly poignant moments.

My Old Ass is a success because it’s so earnest, allowing these ideas to resonate with subtle humor, emotional heft and, most importantly, self-acceptance.

Directed by Burton and written by Alfred Gough and Miles Millar, the fantastical comedy is a hilariously strange and charismatic voyage through Hollywood’s best creative minds and most skilled special effects magicians.

Despite the cast and the director’s best efforts, this is a movie that so desperately wants to be edgy that it somehow becomes completely dull.

A lot of boxes are ticked here—a protagonist who runs a flower shop, a love interest who is a chef, the ridiculous character names, Lively’s impeccable-but-quirky wardrobe and hair, a Taylor Swift song that plays at the exact right emotional moment—and It Ends With Us could have easily felt completely contrived. It’s a credit to Baldoni, Lively and their collaborators that it doesn’t.

The movie, brought to life in part thanks to the efforts its star and producer Scarlett Johansson, is a charming, cute possible history, invoking rom-com tactics and old-fashioned appeal in a way that is fairly successful.

The challenge here is that Kidman and Efron have no spark, which makes it awkward and uncomfortable to witness their coupling.

It’s gritty, nostalgic and occasionally romanticized, especially if you have an affinity for the era in which it’s set, which Nichols clearly does.

Those looking to re-experience the tear-jerking emotional heft of Inside Out won’t find that here, although the climatic scenes are sweet. It’s less joy than it is moderate satisfaction.

I Used to Be Funny reflects on essential concepts, even if it doesn’t always grasp them in a satisfying way. Still, it’s worth watching Sennott in almost anything.

Tuesday is a challenging watch at times, and it requires an acceptance of the strange world it inhabits, but it’s a deeply worthwhile experience.

Rønning unfurls the journey with tension and then triumph, even if some of the storytelling leans towards the formulaic.

Miller is an undeniable storyteller and filmmaker, and Furiosa is an epic, world-building creation imbued with its own vast mythology and expansive scope.

It’s compelling to see [Ritchie's] take on a World War II movie, despite a few narrative holes, and it’s a good reminder that not all war stories have to be so serious.

The scant narrative and unwritten characters result in a lack of empathy that doesn’t serve the thematic ideas.

Movie plots thrive on the idea of alternative realities or timeline swaps, but it can also become a gimmick if not executed well. That’s the crisis faced by The Greatest Hits, a sweet, well-intentioned romantic comedy with a good concept that’s presented with faltering effect.

Scoop is presented as a thriller, which works. Although we know the outcome, Martin successfully immerses us in the narrative in a way where it feels precarious.

It’s mostly nostalgia that keeps the movie going, although Grace is very compelling and should have been allowed to properly lead the film.

We need silly rom-coms to get through the long, hard days of reality just like Ireland needs tourism dollars after the pandemic, so why not celebrate Irish Wish for the joyous entertainment that it is.

The film, written by Dan Mazeau and directed by Juan Carlos Fresnadillo, is well-intentioned in its thematic arc, but its execution falters.

Maybe this is just a whimsical trip with quirky characters and little depth. Maybe we’re never supposed to really understand or care about anyone’s motivation or background. There are great moments and a great idea here. Without that connective substance, though, the car gets stuck in neutral.

The film is fine for the first 30 minutes and you almost wonder if it might not be as bad as everyone is imagining. But then it somehow gets worse and worse until you just feel embarrassed for the cast, who probably couldn’t tell you what Madame Web is about if asked.

The film, written by Jason Fuchs and based on a novel Elly Conway (who fans have, perhaps incorrectly, suspected is a pen name for Taylor Swift), boasts strong performances and creatively memorable sequences, but sometimes loses itself in a roller coaster of plot twists that many will see coming.

Fitting In, which was inspired by McGlynn’s own experience with MRKH, is a sweet coming-of-age story that doesn’t sugarcoat the complicated nature of Lindy’s struggles. It examines preconceptions of gender and sex with frank warmth, and Ziegler’s considered performance is open-minded and unafraid, especially when scenes call for her to confront her sexual shortcomings.

It would have been an obvious choice for Ava DuVernay to make a documentary out of Isabel Wilkerson’s best-selling book Caste: The Origins of Our Discontents. But the resulting drama, written and directed by DuVernay, is far more compelling, interrogating hugely complex concepts with consideration and surprisingly emotional gravity.

It’s sappy at times, but so was Schitt’s Creek and the gentle sweetness of the film will likely appeal to a lot of viewers.

It’s a tearjerker at times, sure, but what remains is how much a person can endure under impossible circumstances. How can someone be this resilient? It seems unknowable, but movies like this help us to get closer to the truth of our existence. It’s a difficult watch, but an important one.

Leave it to screenwriter Alice Birch—who has brought Normal People and The Wonder to the screen, among her other credits—to adapt Hunter’s delicate brush strokes into a fully-realized painting that leaves an emotional and philosophical impact.

The film is charming and warm-hearted, much like Paddington and its sequel, and the onscreen delight is infectious.

Despite its protagonist, voiced by British actor Stephen Fry, the film feels oddly disjointed, as if there’s not enough story to sustain 90 minutes of beautifully-made stop-motion and hand-drawn animation.

The Hunger Games: The Ballad of Songbirds & Snakes is long, which means that it sometimes lags, but its cast and the well-crafted visuals keep it as entertaining as possible.

Here’s the main thing you need to know about The Marvels, the 33rd movie in the Marvel Cinematic Universe: It’s fun. That shouldn’t be revelatory since comic book movies are supposed to be uplifting blockbuster entertainment, but it’s both a surprise and a relief that Nia DaCosta’s MCU debut is genuinely enjoyable.

Kaluuya, who grew up on a council estate in Camden, clearly has a personal stake in The Kitchen. The actor has previously written short films, but this marks a solid debut feature for him that is stronger for its adept comment on the British class system.

You want no part of this story in real life, but it’s so much fun to watch.

It’s mildly entertaining, sure, but as aspirational wish fulfillment it’s not particularly impactful.

As sports biopic, Gran Turismo is solid. As a video game adaptation, it feels like some of the key elements still haven’t downloaded.

The movie, which hovers between ridiculous crass comedy and oddly touching moments of sweetness, is completely inane. But that silliness may also be what makes it somewhat endearing and, certainly, entertaining.

Simien has created a thoughtful movie experience that feels diverse, funny and visually interesting. Those expecting an exact recreation of the ride won’t find it here, which may be for the best. Despite a few cartoon-y scenes, Simien and his cast elevate Haunted Mansion to a thoroughly entertaining and oddly emotional good time.

It is infectiously delightful, even if you’re someone who might typically steer clear of chipper, pink-hued flicks. Somehow Gerwig has struck a balance between unhinged whimsy, deep humanity and comedic bliss. It’s funny, it will make you cry and it feels almost like a rebellion.

The Out-Laws may not be for everyone, but two things are for sure: DeVine has the potential to be a major comedy star and Brosnan needs more roles where he doesn’t have to play serious. The rest is a welcome distraction for a Friday night at home.

Holofcener is a master at these microcosms, which feel like a glimpse into someone’s actual life. She show it to us with empathy and curiosity in a way that feels oddly revolutionary. There’s no VFX, no stunts—just a few people attempting to navigate the ups and downs of human existence.

Fast X is an outlandish movie. Literally nothing in this movie could really happen, but isn’t that why we watch films in the first place? The imagined world of the Fast & Furious saga is exciting and that’s enough. Are there too many characters now? Yes. Do you always know what’s going on? No. But you’ll laugh, you’ll cheer and you’ll feel, for a few hours, like part of a family.

While the plot and characterization occasionally falter, Lopez is charismatic, tough and—it has to be said—totally ripped.

Some of the scenes are tonally strange, which will appeal to certain viewers and feel off-putting to others. But thanks to the visual style, which evokes a vintage palette and lighting, and Wilson’s likable portrayal of Carl, Paint has its own sort of indie-movie charm.

Stephen Frears’ latest based-on-a-true story onscreen endeavor is at the same time compelling and endearing, perhaps because at its core it’s a story about the common man triumphing over naysayers.

Even as the film’s plot tips slightly overdramatic, it hits on something that feels very true, especially for viewers who have experience with addicts.

Written by Mark Rizzo and based on a 2018 Spanish film called Campeones (which is itself based on a true story), Champions is one of those movies that doesn’t swing for the fences or try to change the game. Instead, it wins with good sportsmanship and positivity.

Ant-Man and the Wasp: Quantumania is ultimately one of Marvel’s dullest and most unnecessary movies to date.

In small ways, Hansen-Løve allows One Fine Morning to break the viewer’s heart, but overall the film is unexpectedly hopeful. Anyone who has guided a parent through a debilitating disease will find the story especially heartbreaking, particularly as Sandra begins to crack under the weight of her father’s suffering. But One Fine Morning is also about starting again and finding joy in the midst of sadness.

This is a film that everyone, but particularly women, should see. It is a core-shattering experience in every frame.

This is the sort of riotous good time you want to watch in a crowd with shared laughs and gasps.

It would easy to call Women Talking a #MeToo movie, but it’s a lot more than that. These aren’t trendy conversations; they’re long-held struggles that people of all genders have faced for generations. Instead, Polley asks why people are forced to endure such horrific repression and violence because they are female. The question resonates far beyond the end of the film, although there is no quick answer.

Dan Savage adapted Ausiello’s 2017 book with David Marshall Grant, and the resulting screenplay is cute, weepy and unfortunately lacking in chemistry.

She Said is not a ground-breaking tale. What makes it interesting is the depiction of Megan and Jodi as working moms who are forced to struggle within a system that prioritizes male needs.

It’s impossible to deny the immersive, dreamlike quality of Aftersun, which hinges its success on the impressive performances from Mescal and Corio.

The sum of Ticket To Paradise is less than its parts, which is a difficult feat when you have two major A-list stars at the helm. That doesn’t diminish the film’s general likability and possibility of becoming a Sunday afternoon comfort watch. If you’re nostalgic for a great rom-com, though, this isn’t it.

A solidly fun follow-up that understands its audience. Set in 2022, Hocus Pocus 2 not only leaps across several decades, but also reimagines itself in a more contemporary way by diversifying its cast and embracing technology.

It’s a story that hits hard, like the dark ocean waves that surge in the background of many scenes.

In a vacuum, without the headlines, Don’t Worry Darling is a thoroughly compelling watch that reveals a strong filmmaker in Wilde and genuine star in Pugh.

Her recent film Sharp Stick was classic Dunham, with a focus on sex and drama in a way that didn’t connect with all viewers. This one, intended for a family-friendly audience, connects far more broadly. It welcomes everyone, even those unfamiliar with the novel, into its delightful, funny world.

Ultimately, Blonde mirrors our surface-level conception of Monroe herself: beautiful but vapid. Its flaws lie mostly within the storytelling rather than the filmmaking, and it’s not a boring watch by any means.

It’s a startlingly intimate experience, carrying the viewer from Diana’s engagement to the Prince of Wales in 1981 to her death in 1997, and Perkins largely focuses on Diana’s reactions to various circumstances. It’s easy to see her unhappiness, even when she’s putting on a happy face.

The high-thrills onscreen version, which adheres relatively closely to reality, is taut, exciting and will send viewers to frantically search Wikipedia for the rest of the story.

The film, which is like Agatha Christie’s And Then There Were None told through an Instagram filter, is hilariously and cleverly of the moment, embracing the digital age and the types of people it has generated, although it may alienate an older audience. But to those it does speak to, it’s a genuinely fun watch that plays on our expectations of the murder mystery genre.

Ali & Ava is a gentle, emotionally-charged drama that doesn’t placate the viewer with unrealistic ideas about love.

Persuasion is a wistful novel, full of longing and regret; those feelings are onscreen here, even if they’re delivered in a more modern style.

It’s a movie that resonates, particularly for those who felt drawn in by Owens’ novel, although certainly there will be viewers who find it trite or melodramatic. But this is a strong, satisfying adaptation that welcomes the audience into the marsh alongside Kya.

While this may be yet another potentially disposable action movie, it’s still worth seeing on the big screen at full volume if you can. The action is big and the stars give it their all, even if the dialogue leaves something to be desired.

Ultimately, Thor: Love and Thunder does what a good superhero movie should do: it entertains us.

Who doesn’t want to be lauded for being absolutely rubbish at something we love? The Phantom of the Open is a good reminder that you don’t have to be the best to achieve your dreams.

Written by comedian Joel Kim Booster, who also stars, the movie reframes the traditional rom-com by putting gay men into the leading roles and inviting viewers to experience drama and relationships that don’t often get the Hollywood spotlight.

It’s not a guilty pleasure; it’s actual pleasure. If there was ever a time to run into Downton Abbey’s welcoming embrace it’s now.

It’s a true story so strange it makes you wonder what other untold chapters of World War remain.

It’s a small film that leaves behind big ripples.

A free-wheeling ride through the best of the actor’s filmography.

The Northman is a big-budget epic, but it retains those indie roots, with Eggers bringing in all of the elements that have made his past films so aesthetically successful.

There’s plenty of magic in Fantastic Beasts: The Secrets of Dumbledore, but viewers will need a summoning spell to conjure up a tangible plot.

This movie is as lifeless as the bodies Morbius drains and throws on the floor.

Written and directed by Daniel Kwan and Daniel Scheinert, collectively known as Daniels, the movie is an explosion of creative weirdness that is equal parts exhilarating and overwhelming.

It’s a movie that relies on the sort of nuance Rylance has mastered, and he unfolds the layers of his character, Leonard, with the same precision that goes into crafting a custom suit.

It’s not exactly a dull watch—two hours pass quickly—but it’s a purposeless one. Everyone involved, especially the puppy, deserved better.

Still, for all its adventure and flash, The Adam Project welcomes feelings. Levy doesn’t shy away from heart-warming, tear-jerker scenes, just like those beloved films of the late ‘80s and early ‘90s.