Mae Abdulbaki

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.

Cervera’s film is consistently intriguing, elevated by the dynamic between Winstead and Monroe, who have solid onscreen chemistry.

If anything, She Loved Blossoms More isn’t weird enough, holding out on exploring what’s beyond the time machine, which is the most compelling aspect of the film.

Tipping and his co-writers have a lot of great ideas and thought-provoking commentary about the way we treat athletes, but the lead-up to an admittedly explosive conclusion doesn’t land. Wayans and the score seem to be doing most of the tension-building. It’s a shame the rest of the film couldn’t rise to the same level.

A rousing story about finding someone and falling in love this is not — nor does it truly contend with the need for human connection very well.

Messy, strange, and somewhat baffling, Gavras’ film is chaos personified. For this sometimes funny film, I wish that were a good thing.

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

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.

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

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.

A great cast and patience will prove only somewhat rewarding, even if the journey to get there is shaky and more than a bit confusing.

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.

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

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

The script has its moments, and I chuckled a bit at a few points. But what the film lacks is genuine heart and warmth.

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.

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

Hurry Up Tomorrow isn’t awful. It stays at the surface, really afraid to interrogate any deeper than required, but it has its moments and aesthetic flair.

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.

Some of the best game movies have adventure, heart, humor & good characters. I wish I could say A Minecraft Movie had these things besides adventure.

Ash can be horrific and genuinely startling; there’s a specific scene near the end that underscores the apprehension that permeates the film. It’s chilling and memorable. And yet, had the sci-fi thriller given its characters more dimension, it would have been all the stronger.

While O’Dessa has a lot of style, it doesn’t have much else. Its substance is sorely lacking, with a lot of jumbled ideas and themes that don’t come together.

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

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.

La Dolce Villa is a feel-good film that forgoes proper tension-building for a more headache-free delivery. The result is a mixed bag that I enjoyed occasionally, though its inability to spark a greater emotional reaction is the film’s greatest weakness.

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 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 has its moments of genuine humor, it never lives up to the energy or intrigue of the opening scene. The rest of the film is an empty, exhausting watch that never truly builds towards anything.

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.

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

A couple more action set pieces would have also helped the pacing from growing too stagnant as, like its predecessor, Den of Thieves 2 is far too long at nearly two and a half hours. It’s bloated and, with nothing too exciting going on, the wait for the heist itself starts to drag. Despite some tension, there’s no real sense of urgency at any point. The film sets up yet another sequel, but Pantera lacks the passion and consistency needed to dredge up any genuine excitement for yet another film in a struggling franchise.

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 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.

Compared to other, stronger animated films, Spellbound sits comfortably in the middle. Kids will likely be delighted with it — though at nearly two hours long the wait to get to the end might be a struggle — and it offers just enough for them to keep watching.

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

While Blitz may not be transformative, it isn’t all bad. McQueen is a capable director who deftly moves between different points in time, offering a glimpse into Rita and George’s life before and during the war.

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

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.

Writer-director Simon Hacker has a good grasp on his characters and story, but while Notice to Quit has a spark, it lacks any true heartwarming moments, which are buried beneath a surface-level premise that refuses to engage with vulnerability.

When a film is trying to tell three stories at once, it’s bound to get tied up in its own narrative misgivings, and Hold Your Breath is certainly culpable of that.

Winslet’s got plenty of fire as the titular photographer, but the biopic’s spark quickly fades.

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.

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

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.

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.

Unfortunately, the film doesn’t invest in its characters or in its world beyond the surface, so why should we?

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.

Crowe’s performance is The Exorcism’s saving grace. His dedication to crafting a character whose struggles he wears on his sleeve elevates the lackluster horror elements that are consistently on display, but that don’t do much for the overall story.

The Watchers is a strange film. It has disconcerting moments, but it never rises above its premise. The story itself is half-formed at best, and the ending is so outlandish that I was stunned by how badly it’s executed. Somewhere in the supernatural horror is a film that’s worth its salt. Sadly, The Watchers is not even worth the price of a theater ticket.

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.

With the documentary Amy painting a more detailed and intimate portrait of the singer’s life, it’s hard to recommend such a stilted, unimaginative biopic that doesn’t do Winehouse any justice.

Justice League: Crisis on Infinite Earths - Part Two is a disappointing entry, failing to truly and comprehensively build a bridge between the first film and the third film.

The characters have a myriad of flaws and plights that would have made them compelling, but the film fails to explore them beyond the surface.

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.

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.

The film doesn’t always rise to the occasion, and there is some lost potential and a general lack of urgency, but We Were Dangerous’ heart is in the right place, bolstered by a great cast and a strong overall message.

The first half is wildly fun, especially as it puts characters in the uncomfortable position of being at a party that goes awry shortly after the countdown. But what starts off as a quirky teen comedy with hints of sci-fi catastrophe turns into a messy romp that loses its intrigue.

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.

It’s certainly not Ethan Coen's strongest film, though it is saved by an especially fantastic performance by Geraldine Viswanathan and a fun story.

The feature doesn’t dig any deeper than it has to, leaving us drifting along with Jacqueline without anything to latch onto to keep us afloat.

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 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 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.

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.

The concept is no doubt thought-provoking and, occasionally, even creative. But it’s hard to get behind the journey the AIs go on when it’s so detached, the film itself attempting to be a gripping narrative conveying heartfelt emotions that just don’t land.

While A Different Man attempts to be a thought-provoking work some of the time, it’s not as deep or as profound as it aims to be.

The story is just so rushed, there’s barely any time spent on establishing the world we’re introduced to before it’s full-speed ahead.

With a premise worth engaging with, the film can’t quite grasp what its full intentions are and the execution reflects that.

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.

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

The film isn’t trying to hit us over the head with what it’s trying to say, but its themes have depth. When exploring career and glory vs. family, regret and the lengths one will go to return to a life that’s no longer tenable, McGuire gets in a few good swings. If only the horror lived up to these aspects of the film.

Where’s the passion and the drama, the heart and the tension? Clooney’s lackluster film strips all that away, leaving behind a muted sports film that barely engages with its characters in any meaningful way.

Though it has its merits, an excellent supporting cast & fun musical numbers, Wonka wobbles in its journey & storylines while remaining heartfelt.

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

Dicks: The Musical is simply doing too much, and not enough of it is good to justify its runtime. It’s neither clever nor funny, save for the couple of jokes that actually land, and it’s too smarmy for its own good.

It strips Nyad of her complexities for something a bit too formulaic.

As far as middling entertainment goes, Five Nights at Freddy’s fits the bill.

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.

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.

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

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.

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.

The film is still very watchable, and it has a lot of heart that makes up for its overall lack of focus and certain emotional throughlines. But where cohesiveness and pacing are concerned, this sequel leaves a lot to be desired.

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.

The film’s cast is great and, though the actors typically have great comedic timing, the dialogue falls flat and renders the humor inert. About My Father has a heart at its center, but it never really gets there in terms of having a compelling story and humor to elevate its scenes.

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.

The story has no heart, genuine romance, or humor, the spy subplot is mechanical, and the actors don’t mesh together as well as you might expect. All told, Ghosted doesn’t even meet the lowest standard for what would make a romantic comedy remotely decent and that is disappointing considering the talent involved.

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

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.

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

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.

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

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.

The performance factor alone is fantastic and engaging. Boylan’s own performance is convincing and occasionally even emotional, but her acting talents unfortunately can’t overcome the issues that stem from the writing.

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.

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.

The overall momentum stalls and prevents A Lot of Nothing from sticking its landing, but it's a promising debut from McRae, who has a strong grasp with regards to maintaining much of the film's tension through dialogue alone.