Emma Kiely

Night Swim is a missed opportunity of epic proportions, and it’s yet another in a streak of Blumhouse projects failing to bring anything new to the horror genre.

The style, tone, heart, and comedy of Aardman deserve better than Dawn of the Nugget’s formulaic story which doesn’t hold a candle to the original.

With Thanksgiving, Roth brings horror back to basics and reminds us that it can be nasty, gory, gnarly, and a ton of fun all at once.

Instead of a flowing narrative, it’s a series of scenes, the worst and best parts of their 13-year relationship, and doesn’t come together well enough to feel like a complete story. This combined with the lack of Coppola’s vibrant, feminine, and electric aesthetic makes Priscilla a major disappointment from a true cinematic visionary who's capable of better.

Jeymes Samuel is a master of all trades who can craft character-driven arcs with fun action-packed sequences all against a beautiful score. No actor misses a beat and it confirms LaKeith Stanfield remains not just a brilliant actor but a true movie star.

Maestro is a refreshing subversion of the classic biopic.

Carmoon establishes a plot that could have been great, but becomes too caught up in the visuals of it all, and the script pays the price.

From the directing to the script to the acting, All of Us Strangers is a film that will stay with you long after you watch it.

While Comer makes a committed effort to carry the film, it falls flat in its excessive filler, undeveloped characters, and symphony of bonkers accents.

If The Killer teaches us anything, it’s that any director, no matter how legendary they are, can fall victim to a bad script. While Fincher’s iconic style permeates the two-hour runtime, the hollow plot and uninspired writing are impossible to ignore.

Fennell’s direction outdoes her writing here, and the cinematography from Linus Sandgren is exquisite (no surprise).

The twist is detailed but not too convoluted, and in my view, it's not easy to see coming. If anything, A Haunting in Venice is a reminder that even when we are inundated with mystery stories, no one does it like Agatha Christie, and it's hard to believe that someone ever will again.

It is a beautiful, haunting, and heartwarming look at the tidal wave that trauma brings not just to one person but their entire circle. With subtle but sharp notes on MeToo, cancel culture, online trolling, and sexual assault, I Used to Be Funny is a searingly relevant film without making that its main objective.

The film tries to pack in so much subplot and religious context that it leaves no time to build up a scare properly. The only people who would actually be scared by this movie are about five years too young to legally see it.

It’s clear that Boston Strangler so desperately wanted to copy the recipe for Zodiac and bought all the same ingredients.

An Cailín Ciúin is one of the most masterful meditations on childhood, family, and love.

The 2022 Matilda takes the narrative and world of a child and puts it on an adult’s terms. It completely misunderstands why so many children around the world adore these stories - because they were written for them and not their parents. Stick to the original 1996 movie folks, don’t be the boring witch.

It’s the refreshingly modern and tender depiction of intimacy and pleasure that will stay with me. After years upon years of sex scenes that are steeped in the male gaze or are shoehorned in to attract the money of horny youngsters who have no real interest in the story, it’s about time we treat sex with the tenderness, openness, and grace that it deserves on film — and this is exactly what Lady Chatterley’s Lover does.

Every actor probably knows that this script is pretty useless, but that doesn't stop any of them from putting their best foot forward. Including Lohan, they all look like they’re having a blast and that really comes through to the audience.

To see Clooney and Roberts team up again when they have demonstrated in the past (the Oceans movies and Money Monster) that they go together like rum and coke is a lot of fun, but it also makes it undeniably noticeable that they deserve better. I don't mean an Oscar-worthy dramatic biopic. But a rom-com with some nuance and wit.

All in all, See How They Run is a derivative amalgamation of too much tribute and too little originality. Don’t get me wrong, it’s fun and the perfect film to bring your Nana to, but it's ultimately pretty forgettable.

The central problem of Morbius is a lazy and uninspiring script. No weight or depth is given to any character. There’s little humor and when it tries to make a tongue-in-cheek joke, it fails miserably.