Ferdosa Abdi

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.

There is no single frame of this film that isn’t maximizing this story's potential, its wit, humor, or charm. Every moment counts and transforms Turning Red into a visual feast.

A Perfect Pairing may not stand out to most, but its wholesome aura, charming leads, and beautiful cinematography is enough to warrant an enthusiastic watch. If the goal for any romantic comedy is to fill one with that particular, indescribable warm and fuzzy feeling, then A Perfect Pairing accomplishes that.

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

The best action sequence comes at the end, which bolsters the film's best use of camera movement and editing to highlight the fight choreography.

The synopsis sounds straightforward, but there is a lack of balance from the start, and the film has an ill-mannered approach to telling a sensitive or impactful story about sex trafficking.

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.

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.

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

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

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.

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

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

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.

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

From beginning to end, Hellbender is an impressive, at times shocking, and enthralling triumph.

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.

The Long Walk is a film that requires patience from the audience as it unfolds; there is plenty to digest. With a stellar ensemble cast and a challenging, emotionally-driven narrative, this atypical ghost story will nestle into viewers' minds until Mattie Do’s next directorial triumph.

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.

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.

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.

Cummings and McCabe don’t quite balance the purple envelope mystery with the character study of a self-involved man, and the ending takes a sharp left towards confusion, but it is surely something worth watching.

The film is at its best, visually and narratively, when it is deeply entrenched in metal. There is a visceral impact to the third act which truly hones in on what this film has been lacking from the beginning.

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.

Ultimately, Michel Franco’s Sundown feels hollow and too nihilistic for its own good.

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.

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.

The lingering lesson in all of this is Megan Fox deserves better and Big Gold Brick is a solid turd of a movie.

The Outfit is an old-fashioned and masterfully crafted crime thriller that makes good use of its setting, charismatic cast and an excellent lead.

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.

Swan Song is a respectable science-fiction drama. While it may feel overwrought and overly sentimental in parts, the film is immersive and engaging. Ali is magnetic and his natural onscreen charisma, paired with a terrific performance, make Swan Song an absolute must-see.

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.

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

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

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

Ma Belle, My Beauty excels in its visual storytelling, which is paired beautifully with a lively acoustic score and talented actors.

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.

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.

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

Without offering anything particularly interesting or nuanced, The Guilty still has enough to keep audiences engaged and on the edge of their seats.

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

Everybody’s Talking About Jamie is bright, joyous and hopeful. The script is honest, sweet, and humorous, and comes to life beautifully with a dazzling ensemble cast led by Harwood.

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.

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

Ultimately, The Cursed is merely a slow trek through horrific gore, lackluster and confusing werewolf lore, and a muddled understanding of the legacy of the Roma.

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.

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.

The tonal imbalance and the mismanaged themes make for an extremely uncomfortable watch. However, Dog might find an audience, one that is not so bothered by the lack of depth, and who will tolerate the surface-level insight into the issues it barely touches upon.

The film is truly a feast for the eyes and ears.

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

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

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.

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.

See For Me is an exciting home invasion thriller that dares to challenge viewers with a complicated lead, even if it somewhat fumbles the execution.

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.

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.

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.

As the film marches to its conclusion, one will have some appreciation for the rotoscoping animation, the score, and the voice work from some of the actors. However, the murky narrative structure and the lack of a central protagonist only works against all the gory goodwill the film possessed.

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.

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.

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.

How It Ends is a quirky and grounded indie feature about facing one's issues head-on when the world is about to be destroyed by an asteroid.

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.

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.

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.

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.

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.

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.

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.

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.

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.

In The Voyeurs, writer-director Michael Mohan takes all the lessons of the truly wild erotic thrillers of the 1990s and brings them into the modern age. With a dose of Alfred Hitchcock’s Rear Window and Brian De Palma’s Body Double, The Voyeurs perfectly captures all there is to love about the genre.

As a film birthed from the pandemic, the presentation already feels outdated. There is an attempt to revitalize the format, but it falls flat. All in all, the family dramedy has all the right pieces, but, like any dysfunctional family, they don’t come together in the most cohesive of ways.

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

No Exit is a gratifying thriller with a stellar lead performance by Liu. It is a concise and impactful piece of work, even when it stumbles in the third act. It is well worth a watch, especially for fans of the single-location thriller subgenre.

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.

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

All in all, Creation Stories is by no means a loss, it's just missing that special ingredient that would transform it into a film worth being excited about. Instead, it could have simply been a spirited documentary narrated by Bremner.

The result is a baffling and confounding mess that is either intended to make audiences laugh or is dead-serious in its pursuit. Whatever the intention, it is up to viewers to decipher what is most true to them.

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

While it has entertaining moments, Black as Night isn't very balanced and the overall lack of levity ultimately makes the film a slog to get through.

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.

While formulaic, Bruised beats the odds by being a fairly entertaining & moving sports drama that has everything one would expect from a Berry film.

Ricci’s assured and robust lead performance helps build upon some exciting ideas in the script and is ultimately the reason to watch. She is thoroughly captivating and, while the film never reaches her level of excellence, it is still a relatively fun, wonky ride.

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

First Date is a hodgepodge of familiar tropes and homages to teen romcoms and, while there is a sliver of promise, the film is lacking in charm.

A stumble in the third act derails the whole adventure, bringing the enjoyment to a screeching halt. However, with some foresight, Windfall could have been a sure-fire hit.

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.

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.

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

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.

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.

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

With an underlying theme of love and acceptance, Single All The Way blossoms into a funny, delightful, and heartwarming romcom gift for all.

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

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.

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.