Lauren J. Coates

There’s no intentionality behind Ungentlemanly Warfare, no perspective or passion to drive what should be a gleefully schadenfreude-filled time at the movies. With the exception of a scene-stealing Danny Sapani, The Ministry Of Ungentlemanly Warfare is a forgettable action vehicle ferrying a gaggle of uninspired rascals.

Full of striking visuals from cinematographer Ben Fordesman, a healthy dash of horror and sci-fi in the script, and a monumental performance from O’Brian, Loves Lies Bleeding is another surrealist sapphic gem from Rose Glass.

While Snyder may do his best to invent a dark, gripping universe to engross viewers, Rebel Moon is a limp, soulless regurgitation of tropes stolen from much more formidable films.

Unafraid of shattering rose-tinted glasses, Coppola’s film is fierce in its subtlety, relying on Spaeney’s breathtaking performance and the inherent tragedy of Priscilla’s story to deliver a film that’s equal parts beautiful and heartbreaking.

Though it leans on familiar genre tropes and stylistic conventions, a devastating script and charismatic cast (spearheaded by Sophie Wilde) make Talk To Me a terrifying and pervasively heartbreaking tale of grief.

What’s frustrating about Indiana Jones And The Dial Of Destiny is how clearly it wants to recapture the magic of its predecessors while fundamentally misunderstanding how to approach a sequel set so chronologically apart from the rest of the franchise.

Though it sets out with noble intentions, What’s Love Got to Do With It is inelegant and reductive. It’s a well-meaning but misguided film that ends up playing into the same prejudices and preconceptions its characters are meant to be challenging.

Are You There? God It’s, Margaret does an admirable job of honoring a beloved touchstone in the lives of so many young women. Frank yet warm, charming yet brutally honest, Craig’s film pays its due diligence to Blume and her cherished novel.

Little Richard: I Am Everything manages to find the proper balance between grace and respect towards Richard’s legacy and valid criticism of his more unsavory views or ill-conceived exploits.

Even with a relative lack of action, and a confusing attitude towards introducing and removing characters from the narrative in rapid succession, The Outfit is still a wonderfully atmospheric film and fresh new addition to the genre – thanks in large part to Alexandre Desplat‘s heady score, sharp dialogue from writer-director Graham Moore, and Rylance’s consistently impressive leading performance.

Though the film boasts an impressive comedic roster and delivers a surprising number of thoughtful, emotional beats, its aimless storytelling and tonal confusion result in a middling end product that ends up more forgettable than anything else.

Even with a handful of toe-tapping songs written by Maluma and JLo specifically for the film Marry Me is an off-tune rom-com that should make most viewers think twice about saying “I do.”

While the film’s more artistic sequences feel out of place and not entirely thought through, Diana Silvers and Kristine Froseths’ performances make the ballet dram compelling, though not entirely en pointe.

From the stiff leading performances to the clunky, pretentious dialogue, The Voyeurs often feels like an amateur outing, but there’s also genuine wit in the film’s visual storytelling (particularly a number of clever match cuts), and an unpredictable enough payoff in the third act that it makes for a fresh, memorable viewing experience.

While it’s hardly the funniest film of the year, the based-on-a-true-story couponing antics and thoughtful look at motherhood and grief make Queenpins worth the watch.

Though the comedic talents of its supporting cast (mainly Acaster, Ranganathan, and Brown), and the veteran performers (Brosnan, Driver, and Menzel) do their best to anchor the haphazard, bloated mess of a film, Cinderella is an uninspired fairytale that feels less like an empowering, new twist on a classic and more of a lazy, virtue-signaling attempt at cashing in on Cabello’s fame and legion of fans.

Though it often feels like the safest, most predictable version of the film we could’ve gotten, Stowaway is a tense, chilling space thriller that coasts to victory on the strength of its premise and the believability of its cast.

Paced to perfection and grounded by a magnetic leading performance, Shiva Baby is as painfully awkward as it is impossible to look away from.

Though clumsily paced and in need of a little more structure, Soleil Moon Frye’s Kid 90 is an achingly personal insight into what it means to truly understand and connect with your past, disguised as a documentary about the perils and pitfalls of childhood stardom in the blossoming age of technology.

Though Raya and the Last Dragon is a visual and audible spectacle anchored by an all-star cast, the film’s lack of originality and paper-thin characters leave it on the less memorable end of Disney animated films.

While it flirts with some exciting and original concepts, The Map of Tiny Perfect Things is plagued with an uninspired story, flat characters, and a pair of romantic leads that have zero chemistry. It’s not overtly offensive, but it’s certainly the kind of movie we won’t remember two time-loops from now.

Ramin Bahrani’s The White Tiger thrives with terrific performances, compelling characters, and a biting sense of identity that hits the thematic nail on the head. Though the poor pacing strains its true potency, the film’s striking visuals and sharp direction bolster the impact significantly, resulting in an artfully-crafted tale of ambition and greed.