Ferdosa Abdi

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.