Emily Zemler

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’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.

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

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

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.

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.

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.

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.

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

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 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.