Ferdosa Abdi

Plankton: The Movie is a gem. Fans of the original series and fans born along the way will enjoy it immensely.

There aren't any surprises, and all that we are left with is a little bit of satisfaction and underlying curiosity as to why this movie was worth investing in.

It's a visceral experience, though it doesn't reach those epic highs because the romance, while it works on paper, doesn't quite materialize as expected.

Ultimately, Inheritance is a fairly good attempt to branch out into different technical abilities within the spy thriller genre. Hopefully, this method and films like Inheritance continue to inspire such attempts.

It's not outright terrible, but it's nothing to get too excited about, either. There's even a sweet subplot about mother and daughters and familial trust. It's an overall cute family movie and anyone who adores Diaz and Foxx will find a way to enjoy it.

The film, comprised of over 20 stories, is a cry for help. A cry for humanity. A cry for justice.

Ultimately, the film has some heartfelt moments and themes, and while dark and violent, it is, in the end, an uplifting story about family, legacy, and hope.

We get two influential actors reuniting on the big screen in a film that is comparable to their acting gifts.

What really makes That Christmas such a joy to experience is the colorful details, from the writing to the scenery to the set and character designs to the atmosphere.

Despite subverting expectations and being edgy in its approach, the lack of energy and fearlessness keeps this story from reaching its full potential. Weiss's directorial debut is not a dud, but charm can only get you so far.

Elevation comes across as a mild copycat rather than a compelling project that stands on its own merits.

The film effectively illustrates how hazing is not singularly a university issue.

This particular narrative is a sound idea but for a documentary instead.

The film has two major things going for it: Goldstein and Poots' casting and their characters' chemistry. The only thing that fully captures our attention from beginning to end is Laura and Simons’ undeniable spark and charming banter.

I don’t go out of my way to drag films, as there is so much time and effort put into every project, and a film of this caliber was likely made with the best of intentions. But intending to craft a pitch-black dark crime comedy is different from actually executing one well. And Riff Raff just doesn't land.

For all its flaws, The Deb is hilarious and entertaining. The music is infectious.

The film is outstanding in almost every regard. It's an uplifting, hilarious, gut-wrenching, and stunning animated adventure that reaffirms the power of a parent's love.

This story isn't the flashiest werewolf tale, but it is worth seeing thanks to a fresh perspective. As flawed as the story may be, the story from a child's eyes offers a new and unique entry point for the subgenre.

The Eternal City struggles with finding the tonal balance between a child-friendly action-comedy and an adult-appropriate action-comedy.

The film manages to be a very straightforward horror, but the lackluster character work diminishes whatever good comes from its genre shift, and the shift is substantial.

The return of Axel will satisfy fans of the franchise, and it might encourage those who are just tuning in to watch the original trilogy, if only to watch one of Murphy’s most significant roles from the 80s, a true golden era for the multi-hyphenate entertainer.

The Devil's Bath is bleak but well worth the watch, especially if you like being guided down Franz and Fiala's dark, twisted rabbit hole.

Much like The Mother, Trigger Warner is all setup with little payoff. The emotional sentiments are effective but drawn out in uninteresting ways, and Alba, a capable actress, is not nearly as charismatic as the middling script requires her to be.

Krieps has such a clear vision of who Vivienne is when she isn’t the object of romance, violence or intolerance. Her quirks and quiet dominance ultimately shift the film toward the direction Mortensen thought he was headed.

Mother of the Bride's success rests on the filmmakers' abilities to not oversell anything and trust that the collective charisma of the assembled cast will do what it needs to do — and it does, though a flimsy script and one major miscast can be distracting.

It's entertaining, and there are a few chuckles to be had. One can appreciate the referential and situational humor as they are timely and apt for the characters. Lester and Gentry are a winning combo.

From its compelling topic choice, a star-making lead role, stellar ensemble cast, and crafty execution, Música is a must-see.

Laymon expertly crafts a narrative that feels as universal as it is unique. This film embraces a hopeful path, expressing with absolute sincerity that believing in the humanity of others is essential to healing.

The lack of specificity around the situation and the underbaked character development reduces Azrael to being nothing more than a horror with an interesting premise.

The script is mind-numbingly silly and, at times, doesn't try to elevate the remake meaningfully; it's really about engaging with the wild action and nothing else.

The most glaring issue with Spaceman is that the leap from page to screen leaves quite a bit of the story behind and saddles its lead actor with much of the heavy lifting.

While Bloom and MacDowell anchor the film with their strong performances, leading an ensemble cast that is foundational to this rugged Western, the score by Mondo Boys and cinematography by Johnny Derango do a lot to embed the themes and concepts into the atmosphere of the film.

Everything in American Star hinges on McShane's intuitive performance that rejects the obvious and embraces ambiguity.

The Monk and the Gun is a true crowd-pleaser, a poignant message wrapped up in a humorous and vibrant tale.

Don’t underestimate Upgraded. The script is snappy and entertaining, the characters are colorful, Mendes and Renaux carry the romance very well, and the film is a fun escapist rom-com that gives exactly what it needs to provide us with a good time.

Badland Hunters may not be a worthy successor to Concrete Utopia, but it is an entertaining zombie actioner.

From its endearing animation style, which blends a 2D aesthetic with 3D technology, to its poignant and refreshing writing, Orion and the Dark is a true joy to watch.

The ending feels way too cookie-cutter perfect. Scrambled is a worthwhile experience, though, as it is a personal tale that aims to empower through laughter.

The film is, unfortunately, just another instance of the book being better than the movie.

It's the right amount of romantic, funny, and thrilling, and it does what it needs to do to make its narrative feel less derivative and more dynamic and fun.

Best. Christmas. Ever! is not the most splendiferous Christmas movie ever, but it will satisfy those hungry for new sentimental holiday movies every year.

Despite the lack of kinetic energy and well-developed characters, the movie offers a rather humorous take on the art world and its criminal underbelly with characters that are enjoyable to watch.

Memorable? Hardly. Entertaining? Somewhat. Ultimately, the film will resonate with the people eager to devour more Stephen King-inspired projects; sadly, there is nothing genuinely inspired to enjoy.

Spy Kids: Armageddon is creatively deficient. With each new Spy Kids project, Rodriguez mines an empty cave; there is nothing but dirt and hopeless dreams.

Love at First Sight has the potential to be a go-to choice whenever one is feeling in the mood for a light cry and swoon.

Ultimately, Cassandro is a touching tale of a remarkable person who paved the path for others to find liberation and acceptance through their chosen art.

Overall, Puppy Love is very dull. The movie has all the clichés at its disposal but can't make much of it. The writing is witless and dry, and the directing — by Nick Fabiano and Richard Alan Reid — equally so.

Retribution is comically familiar, yet that familiarity breeds a sense of comfort for the average movie watcher who wants something not too complicated or tedious.

The dynamics needed to be defined better, and despite some compelling filmmaking, the flagrant disregard for characterization reduces Fear The Night to a mildly tolerable home invasion horror.

With an amusing ensemble cast, a sturdy script, lovely filmmaking, and the power of its leads' chemistry, Happiness For Beginners is a modest delight.

The film is an effective, thrilling, frightening horror, perfect for those who enjoyed Bird Box and are thrilled by the prospect of more.

DeVine is entertaining enough, and the gag of watching Bronson and Barkin playing cool criminals can intrigue just about anyone. For all its flaws, The Out-Laws will win over those who flock to Happy Madison’s movies time after time, even if you'll promptly forget what you have watched.

It’s pretty darn great. It’s goofy, endearing, darkly funny, and incredibly relevant.

Extraction 2 is weighed down by Rake’s hang-ups over his choices, but the drama of the familial unit Rake is out to rescue is enough. Hargrave's vision is clear.

Fangs Out is not great and hardly promising, but there is an admirable quality to it that you can’t help but embrace.

Assassin Club has the benefit of starring a relatively well-known actor, but even Golding can't save this movie from its mediocrity. Any hope Assassin Club had of being good is squandered within the first ten minutes.

Knights of the Zodiac, despite its reasonably minor flaws, is fun.

The drama feels undercooked, and the characters barely escape one-dimensionality.

The Mother is a lean, mean actioner, but one that could have benefited from better editing and a tighter script. That’s not to say that the film is terrible or unbearable by any means, it's just that it is a straightforward narrative that does not require a nearly two-hour run time to tell it right.

Johnny & Clyde is a chaotic, unamusing mess.

Ambitious ideas and stunning visuals do not make for a great film, but Millepied should consider following his instincts to fight for an all-dance musical for his next feature.

Clock showcases that Jacknow is a talent to watch in horror, though the film doesn’t stick the landing. Occasionally, the concept is stretched too thin, especially when the character work is lacking.

A Tourist's Guide to Love is not remarkable, but its simplicity and familiarity are comfortable and, most importantly, entertaining.

It is heartfelt in its embrace of silliness, and for that reason alone, it is worth a watch.

Praise This is wildly uneven but not entirely unenjoyable. There is enough here that makes the film perfectly fine. It is formulaic, but its earnestness and impactful narrative will touch many.

If one is wanting something substantive, with big laughs and surprising twists, Murder Mystery 2 should be avoided at all costs.

The Boston Strangler case may not have come to the fairest conclusion, but the efforts of these brave women will hopefully continue to light a fire under those who will catch their own Boston Strangler. If that was Ruskin’s goal with this film, then he was successful.

Unwelcome is many things — entertaining is one of them. But with little focus on what actually makes this film worthwhile, the result is disappointing.

It is a moving portrait of a troubled young woman facing what so many face during their lifetimes. Displacement, anxiety, and self-doubt are universal experiences, and they're all beautifully captured through Chou’s vision and Ji-min’s stunning performance, which is among the best to be captured on camera.

Operation Fortune: Ruse de Guerre is a superficial spy mission that is joyless and charmless.

There are some good moments in Shotgun Wedding. Lopez, Coolidge, and Lenny Kravitz are game and there is a Herculean effort from the trio to do something worthwhile with the script they are given.

The Seven Faces Of Jane is an experiment that just does not deliver the right results.

If there is any justice, Door Mouse will garner the attention it deserves for being a well-defined narrative brought to life effectively and efficiently by a talented director whose imagination and creative drive become more evident with each scene.

Ultimately, The Pale Blue Eye feels like more of a missed opportunity than a story worth enjoying on its own. As far as historical fiction goes, the film fails to capitalize on its central historical figure, especially with Melling’s performance a beacon of light.

With a stellar leading pair who make the most of the screenplay, Darby and the Dead has enough to keep audiences moved and laughing on occasion, though it is unclear whether it can bring viewers back for a rewatch. The only certainty is that Downs and Cravalho are great together and should have the privilege of leading more projects.

Taurus plays like a personal project, but that doesn’t make it good. However, Baker should take pride in knowing he has a future in acting; he just needs to pick better projects.

At the heart of this plausible political thriller is a need for more insightful and incisive writing. The Independent often shows audiences what they already know about American politics, but it doesn’t tell one more.

This is a terribly unfunny venture, which fails at the film’s only job.

Falling For Christmas was the best comeback film for Lohan; it could have been better quality, but it is better than nothing. She's in her element, and her natural charisma is illuminated, partially by how uninteresting her costar is. The script and overall production leave much to be desired, but with how low expectations usually are, this one is okay.

Run Sweetheart Run has a fierceness to its story that has to be admired, and paired with Balinska’s committed performance, the horror film is a must-watch.

The story is simply a rehash of the first film, and even the jokes begin to fall flat well before the halfway point. Hocus Pocus 2 is enjoyable, but it doesn't quite live up to the lightning-in-a-bottle moment that was the 1993 film.

Confess, Fletch isn't a ringing endorsement of rebooting projects from the 80s; instead, it is an excellent showcase of Jon Hamm's comedic chops, a well-known skill that has been primarily misused until now.

One Way won’t carve a place into the crime thriller pantheon, but its most notable achievement should be setting the stage for Andrew Baird and Colson Baker’s inevitable rises in the film industry.

Orphan: First Kill is a kooky romp, way too relaxed to be considered a psychological horror.

They/Them is impactful for its reason for existing and the excellent ensemble cast that deserves to shine. The film is not unwatchable; it is merely without excitement. Satisfying as it is for the film to directly take aim at dangerous institutions, there is sadness in knowing this horror couldn't find a happy middle.

All one can hope to get is a colorful and exciting adventure that allows the characters’ personalities to shine. Rise of the Teenage Mutant Ninja Turtles: The Movie succeeds in that regard.

Wedding Season may appear to be another Hallmark-esque romantic comedy from Netflix, but it is actually a delightful endeavor that will warm the hearts of its viewers.

It is easy to see the potential in the first act, but Purple Hearts leans too much into over-sentimentality, with narrative tricks designed to trigger tears and subdue thinking.

Anything is Possible is great for what it is, but its potential is even greater.

With so many people and life going back to some semblance of normalcy, Alone Together may feel slightly too late, but Holmes' film offers something worth engaging with.

What makes it practically perfect is that it accomplishes everything it sets out to do. It is funny, exciting, beautiful, and all-around meaningful.

While the film is romantic and poignant in parts, the whole thing falls apart when it relies on the central couple, who lack intense chemistry and substance.

It is a solid sports biopic that aims to celebrate the cherished memories the Antetokounmpos have and their continued success as a united, happy, and prosperous family.

The talent is abundant on screen and behind the camera, but a flimsy screenplay fails them all.

To enjoy After Blue, one should be open to an experience that overtakes the senses. Despite the long runtime, it offers a wholly unique experience.

Interceptor checks all the boxes in terms of making an action film that will grab the audience's attention, have one root for the hero, and let out a few chuckles (especially for one horribly done cameo) before promptly forgetting the movie exists.

Fire Island is a mesmerizing, joyous experience and one of the best modern adaptations of Jane Austen’s Pride and Prejudice. The film has also solidified itself as one of the best romantic comedies to date. It is filled with plenty of hearty laughs, heartfelt sighs, and heartbreaking moments, making it worth revisiting repeatedly.

Sure, the film may feel somewhat tepid in places, and it meanders, but the overwhelming wholesomeness of the picture will make one embrace its simplicity.