Emily Zemler

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.

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.

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.

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.

Originally planned as a vehicle for Ben Affleck’s bland Batman, Reeves’ version hits left of center, offering a vision of the character not yet explored on film.

This is an intimate story, sometimes uncomfortably so, but it’s also an expansive one, about whether our societies allow people to live outside prescribed boxes and whether it accepts them when they do.

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.

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

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.

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.

It’s self-reflexive at times, and occasionally pretentious in its high-brow approach. But writers and directors Scott McGehee and David Siegel have not only made the story accessible onscreen, they have infused it with a raw emotional life that was less easily attained in print.

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

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.

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.

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.

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.

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

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

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.

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.

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.

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

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.

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.

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

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.

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?”