Mae Abdulbaki

The fashion alone, from design supervisor Stefano De Nardis and the costume team, elevates the film, turning it into an extravagant spectacle.

Totally Killer has its flaws, but it also has a distinct flair and charm. The film’s comedy is self-aware and witty, even if not all the comedic elements work, and there’s a love of the 80s that isn’t overshadowed by attempts to emulate it without question.

With Pugh's powerhouse performance elevating the script and an engaging central mystery to keep the plot moving, the film has enough going for it to make it a pleasing watch.

West Side Story is visually entrancing, emotional, and the choreography and staging magnetic even when certain aspects of the story don’t always work.

Elvis seems perfectly content being a glitzy, bejeweled extravaganza, even when the film’s nearly three-hour runtime leaves its energy — which never fully recovers after the first half — waning by the end.

Bob Marley: One Love won't knock your socks off, but there is enough care put into crafting the narrative that turns it into a lovely viewing experience overall.

The horror film has an engrossing premise that remains engaging even in its lulls.

The film is ultimately an action comedy that is as sickly saccharine and over-the-top as Valentine’s Day itself. For a cool hour and 23 minutes, Love Hurts allows us to enjoy every minute of its absurdity, and you’ll never look at a boba straw the same way ever again.

While the film does take its time stepping out on its own and out of the shadows of Aladdin and its "tale as old as time" story (Long's own words), Wish Dragon is a heartwarming, charming film with a great message and lovely characters.

All told, Swiped is a conventional, even hopeful biopic. Lily James is great in the lead role.

Held together by the cast’s chemistry and strong character dynamics, The Tender Bar is a touching film about growing up and the people who shape you.

Mark Wahlberg leads a good ensemble cast while sweetly interacting with Arthur the dog, and it’s cute and heartwarming, with the film doing exactly what it aims for.

The film is full of heart and humor, and the message of self-acceptance in a world where there is pressure to be anyone but oneself is affirming and lovely. Bolstered by a fantastic performance by Verma, Mustache makes for a sweet and wholesome viewing experience.

Late Bloomers offers a nice take on the coming-of-age story that is endearing and gives its characters the attention they deserve.

Appendage is a solid outing by Zlokovic, and the horror elements complement the story’s message about self-doubt, even if it doesn’t push the envelope any more than it has to.

While the first half of the film struggles, the second half deftly explores the character dynamics in a tender way that makes it well worth the watch.

At times, the movie is deeply compelling, but its complexities can get lost in the shuffle and repetition of the same points. Striking cinematography and philosophical reflections can’t make up for this too-slow film that pokes at life’s meaningful moments without inspecting them further.

While the human characters are there for exposition and could’ve used additional development, Godzilla vs. Kong is engaging and visually stunning.

The biggest disappointment is perhaps that it doesn’t do enough to focus on Natasha, opting to set up Yelena as her successor. There is just enough Black Widow, however, to make this a distinct film, one that is less of a traditional superhero outing in the MCU, with the film more interested in exploring the lengths of human cruelty, perseverance, and the ties that bind despite everything.

Bolstered by a solid performance by Will Smith, King Richard is a feel-good, charming sports biopic that uplifts but never reaches its full potential.

The Surfer is a slow-burn film that requires a lot of patience. Cage does his best with limited material, as his character doesn’t have much depth beyond wanting something and aiming to get it.

While the drama gets the wind knocked out of its sails after introducing other characters, Encounter gets in plenty of emotional, nuanced scenes between Malik and his sons that become the beating heart of this often unsettling, uneven, yet strangely mesmerizing film.

While the film tells a raw, intriguing story, it isn’t always smooth sailing.

With a game cast and thrilling action sequences, Huang’s film offers more than expected to keep us engaged.

Powered by an incredible, devoted performance from Jonathan Majors, Magazine Dreams stumbles in its last act and repeats itself too often, but it is gripping and intense all the same.

Bad Boys continues chugging along with Ride or Die. Watching the sequel reminded me a bit of the Fast and Furious franchise — it tries to go bigger than before, while also maintaining its core relationships as a key to its success.

While the film isn’t overly ambitious or deep, it’s an energetic, occasionally thoughtful and honest film about the lack of honesty and its effects on relationships.

From a horror perspective, the film is lacking, but it more than makes up for it with well developed characters and a killer who preys on secrets.

Despite Foe’s shortcomings, it has plenty of heart and something to say. Its visuals are magnetic and Ronan and Mescal give their all in gripping, emotional performances.

Better Nate Than Ever is full of charm, supportive friendships and familial relationships, and a passionate love of musical theater and these elements work together to create a lovely, entertaining viewing experience.

Thought-provoking, beautifully edited and told, Sirens explores the band members’ relationship with each other, gender, and conformity in a society that isn’t always open about such things.

It’s a fascinating story to balance, and though it doesn’t always work, Finley really runs with the concept and its various themes. It’s safe to say there’s never a dull moment in the film, and it isn’t predictable in terms of what comes next.

House of Spoils is an exploration of witchcraft, land, and the respect it should be given, and a study of the perversion and stress of the restaurant industry.

I walked away from the film feeling distant from Bob Dylan. That seems to be by design but it’s no less frustrating from a storytelling point of view.

The Beekeeper is an engaging ride, and once the action starts it never lets up.

The characters, in their fight to live another day, and the thrilling, suspenseful sequences are what make the film worth watching. However, Those Who Wish Me Dead could have more thoroughly explored the very details that drove the plot, which would have elevated it beyond a basic action-thriller.

While it might not stand the test of time, the film is an entertaining, easy watch that works well enough.

Bolstered by a headstrong performance from Ramsey (who is best known as Lyanna Mormont from Game of Thrones), alongside a fantastic supporting cast, Catherine Called Birdy will be best enjoyed by a younger audience, though it’s still fun enough for viewers of all ages.

Flamin’ Hot is not only entertaining, but feels like a warm hug. It’s sentimental enough, but doesn’t overstay its welcome. Longoria has ultimately crafted a sweet, funny, and bright movie that will surely have viewers looking up Montañez on Google after the film ends.

The cast’s chemistry uplifts this film and makes certain moments all the more enjoyable. Everyone is clearly having a great time, and it shows in every scene. While the film probably won’t be remembered after audiences leave the theater, Champions is a lighthearted, feel-good sports movie that does exactly what it sets out to accomplish. It doesn’t do anything out of the norm, but it is a solid effort from Farrelly and Rizzo that will certainly boost one’s mood after watching.

If you’re looking for an overall fun time at the movies, One of Them Days delivers.

The film is melancholic and contemplative in a way that isn’t always the case with romance genre films.

While the film tends to get repetitive and its comedy doesn’t delve any deeper than it has to, Some Like It Rare is entertaining and darkly funny.

Parthenope is sensual and visually exquisite. It might not dig way too deep into its message, but it does get it across by the end.

The animation is still strong and the character beats are affecting, but the villain and his motivations stand in the film's way of true greatness.

There are certainly lulls throughout, and the story needed some tightening. But what it lacks is more than made up with a great cast, distressing moments, and some well-shot action.

Daniel Craig’s fifth and final outing as Bond is replete with fantastic action sequences and an emotional center despite the final act being shaky.

Despite being all over the place, Antlers can be gripping and potently disconcerting, with good character development making up for its pitfalls.

While the point of the film is excellent, The Cut has a bit too much trauma. It’s like the writers wanted to throw everything at Boxer and see if he could survive it, but it’s a lot.

While the film meanders for a bit and is longer than need be, it maintains a good balance between character dynamics and the thrill of the chase. And with a fantastic cast at its center, audiences will surely be entertained overall.

The film is a combination of great ideas that could have gone a bit further.

Occasionally intense and always interesting, Sri Asih is certainly worth a watch.

Buoyed by a strong, effective performance by Boyega, and even despite its pitfalls, Corbin’s film is a solid debut feature.

The performances elevate a story that could have gone deeper, but is fine for what it’s trying to be.

A Man Called Otto aims to be a crowd-pleasing, heartwarming film, and, despite its many flaws and speed bumps, is a success on that front.

While The Northman has a lot to offer and is quite beautiful and masterful in its execution, there is something missing. The film begins to meander a bit in the middle before getting back on track and the lack of additional character development — anything that would have given the film more depth — prevents The Northman from reaching its full potential.

Nuanced yet ambiguous, and imbued with raw emotion and care, Campbell-Hughes crafts a worthwhile story that digs into the aftermath of a near-death experience.

While Old is certainly a different kind of thriller, with plenty of elements that work to create a sense of tranquility and desperation in equal measure, it grows wearisome as it evades its deeper themes for the thrill of that final discovery.

While it's heavily nostalgic, The Matrix Resurrections does have something to say about living in the past and the difficulties of moving forward.

Arcadian may falter in its story details, building some character tension that is never fully fleshed out, but it succeeds in creating a gripping, tense experience that is elevated by its disturbing creatures.

Despite its pitfalls, Wake Up Dead Man is still enjoyable. It has its charming moments, there’s a lot to think about in terms of the story, and the cast is good, if not great, overall. It’s just hard to watch the movie and realize the mystery and excitement have waned.

The Assessment, directed by Fleur Fortuné, is conceptually sound and looks incredible, but while it’s psychologically involved and provoking, it doesn’t go beyond the surface of its ideas.

Eternity isn’t a bad rom-com; it’s charming and wildly entertaining for the most part, but by skirting a conventional narrative to be more creative, the story loses some of its effectiveness in the process.

While the plot is suspenseful and unsettling because it’s something that could happen, the film underwhelms when it comes to its dynamics and individual arcs, each character lacking a depth that would have elevated an otherwise solid thriller.

Nobody 2's themes could’ve been better explored, but it’s easy to overlook that and enjoy the fun, action-packed ride.

Linoleum is filled with nostalgia — brought to life by the dreamlike, vivid cinematography by Ed Wu — and the overlapping of memories, the mind losing itself, and the fulfillment of a fantasy that feels incredibly out of reach. Not everything comes together so smoothly or cohesively, but the film is a solid effort nonetheless.

The film is compelling and quietly thought-provoking as it peels back the layers of the relationships at the forefront, while also showcasing the discomfort that follows but isn’t always picked up on.

With personal and generational trauma at the forefront of the story, Eisenberg delivers a heartwarming film that strengthens family ties and underscores the difficulty in speaking about the pain between its members, no matter how close they used to be.

It’s still a serviceable film, and you’re in for a wild and weird ride. Even its message, while nihilistic, has merit. I only wish The Monkey had a more balanced story to counteract its weaker elements.

With a powerful central performance and an occasionally chaotic but nonetheless captivating and moving narrative — helped along by fantastic editing and cinematography — The Outrun is a detailed film strengthened by its connection to nature’s beauty and belonging to it.

Its focus may have needed some more fine-tuning, but Steve proves meaningful regardless.

While there is plenty of fun to be had with the monsters and the buildup towards the final showdown, The New Empire’s story feels forced.

It’s a tender drama and one that focuses on its characters in interesting, thoughtful ways.

It’s not particularly memorable, but it also has its moments, elevated by the chemistry between Madelyn Cline and Riverdale’s KJ Apa.

Adult Best Friends certainly has its heart in the right place and it can even be quite funny and lovely as it navigates the characters’ friendship and its evolution, but it’s also overstuffed with unnecessary characters and subplots that don’t add anything to the core relationship beyond distracting it from being deeper.

The Deliverance is bolstered by the cast’s commitment to the story and their characters. Without them, the film's ending wouldn't have been remotely believable.

While the film could have spent more time exploring its central characters, their emotions, actions, and how time has shaped them in the intervening years, My Policeman remains a tender, heartbreaking film that has one of the most devastating and emotional final scenes in recent memory.

While the film is determined to live in the pain felt and lobbed at its main character, there are moments of gentle vulnerability and contemplation in its exploration of guilt, redemption, grief, and trauma.

The Old Guard 2 is a film that feels longer than it should be and not long enough. It strikes an odd balance, but there’s luckily more here that works than doesn’t, even if the plot is thin.

The Book Club sequel will make you feel as though you’re reuniting with old friends for some wine and life lessons, and that’s enough.

Elfman’s directorial feature debut has enough to hold it together, including a tremendous cast and character dynamics that are thoughtful, interesting, and complicated.

Is it a well-made film? Absolutely, and Morosini has a strong vision for how to shape a story and characters right out of the gate. Unfortunately, that doesn’t turn I Love My Dad into a must-watch.

While Needle in a Timestack aims to be profound, it loses itself within the sci-fi premise rather than exploring the central romance in any detail.

Despite a fantastic cast, Wildflower doesn’t live up to its potential, and uses its disabled characters as vehicles to drive the main character’s story, which will leave a bitter taste in your mouth after all is said and done.

Renfield is goofy, with fantastic action sequences and a few comedic beats that land, but it could have also been so much more.

A Million Miles Away is genuine in the way it presents its story, and the struggle Hernández endures, but it’s also so laser-focused on his space goals that it forgets to explore his inner life.

Despite everything, it has its fair of shining moments. There's a clear direction Snyder's Justice League has that the 2017 version of the film does not, and for that alone viewers can appreciate this film a whole lot more because of it.

The film’s disparate elements and overarching themes don’t entirely come together by the end, leaving the story’s emotional throughline weakened as a result.

India Sweets and Spices has a lot of overall great ideas and themes, even if it doesn’t always rise up to the potential of its setup and story.

Resort to Love doesn’t do anything unexpected or exciting and, despite its overly saccharine silliness, it is entertaining enough to watch in passing.

While Small Engine Repair’s message is clear, it doesn’t completely take off and is fragmented in its pacing, with a twisted turn that doesn't land.

Notturno is sometimes beautiful and Rosi makes good use of private spaces. But, the film comes off as an exploitation of the region and its people’s pain.

Without Cena and Elba’s committed and charming performances, as well as great supporting turns from Considine and Carla Gugino as Vice President Elizabeth Kirk, Heads of State wouldn’t be worth discussing

The Ultimate Playlist of Noise has some lovely and heartwarming moments, but it lacks a strong central relationship and is often too formulaic.

Ambitious, occasionally thrilling, and visually striking, Dune is mostly set up, building out a heartless world that never truly feels complete.

What the film does have is a sense of style and an ability to keep us engaged through a riotous cast that is clearly having a lot of fun.

With such a slow and empty buildup, After Yang often feels as disconnected as most everyone is in the film.

While its performances are lovely and tender, with the execution somewhat messy in its handling of themes, All My Puny Sorrows doesn’t dig past the surface enough to make a strong enough case for itself.