Mae Abdulbaki

From the opening scenes, The Woman in Cabin 10 hooks us and doesn’t let go.

With good pacing, writing, and a stellar cast, Barker has crafted a directorial horror debut that is deliciously dark, absurd, and eerie.

There’s an emotional resonance that permeates the film and fills your heart with an ache so strong that it’s difficult to walk away without being affected.

With an exceptional performance from Ahmed and style meets substance storytelling, Hamlet is a journey worth taking.

Filled with heartfelt moments and hardships amidst Grace’s growing young adulthood pains, Levack’s film plays like a new music album that is familiar yet exciting.

The film is genuinely funny, and the cast is up to the task as the story balances impending consequences for Maria’s actions and gasp-inducing comedic satire.

Rental Family is practically poetic in its handling of its themes. It gets to the root of human emotions and how they’re affected by the world around us and the decisions made by others. It’s a heartwarming film that asks thoughtful questions, and I promise you won’t be disappointed by its answers.

It’s rare for a final film in a horror franchise to deliver character development, a chilling story, and a satisfying ending for the characters. The Conjuring: Last Rites does all three. As a farewell to the Warrens, Chaves balances the terrifying with the heartfelt to great effect.

Caught Stealing is a refreshing addition to Aronofsky’s filmography. It’s deliberately funny and macabre, but it asks us to take it seriously.

It’s got everything — tense chase sequences, anxious and wary phone calls, and heart-to-hearts between Sarah and Ash that underscore their characters’ need for true connection. There have been so few exceptional thrillers in recent years, but Relay is certainly one of them.

It might be a Formula One promotional movie at its core, but at least it’s a damn good film.

The film is poignant and meaningful, with an appreciation for life that reminds us why we live it and how to enjoy it as well.

It strikes a good balance between heartfelt and fun, and the cast has great chemistry; their interactions are joyful and dynamic.

I was taken to another place watching Sinners, and I have no doubt audiences will walk away having been moved and simultaneously entertained by this gripping, multifaceted story that deserves to be seen on the biggest screen possible and, ideally, more than once.

The film is a compelling moral character study and a breathtaking thriller that steps on the gas and never lets up. It’s a perfect addition to Anvari’s already robust work as a filmmaker.

Black Bag is engaging and refreshing precisely because it is so personal, raising the stakes to the highest level without having to be extravagant in its set pieces.

It’s heartwarming, the occasionally funny moments aren’t shoehorned in, and the story has a solid message that plays into the fact the main characters are sloths.

It’s the kind of film that not only makes for a great theatrical experience but will also make you want to watch it again immediately afterward to see what you missed the first time.

Death of a Unicorn is incredibly entertaining. It's weird and a bit goofy (in the best way), with a satisfying ending and character interactions that are off the wall.

Last Breath is a gritty, grounded thriller that knows how to keep us hooked. A stellar cast and a story told right keep this film afloat.

It’s an intricate and beautifully crafted work of art that’s quietly meditative and lovingly told.

Consequences, choices, love, identity, and paranoia are all at the center of this mesmerizing thriller.

Kiss of the Spider Woman is entertaining and invites us into its fantasy in a bid to forget reality for a while. And for the two hours I was watching, I did.

The combination of cast and storytelling makes for an emotionally gorgeous, hilarious, and touching film that you’ll want to rewatch over and over again.

It’s less of a straightforward narrative and more of an experimental one. But it’s not so outlandish that it’s inaccessible.

Blichfeldt pulls out all the stops for this film, giving us a cinematic experience that is ripe with depth and concise commentary, all wrapped in a grisly fairy tale world that is as immersive as it is intense

I’m Still Here is an evocative, nuanced portrait of family and the lasting imprint of politics.

The spectacle doesn’t mean there’s no heart at the story’s core, and it kept me watching despite being overlong.

It’s the kind of movie that’s simultaneously a feel-good tear-jerker that’s deeply personal in the themes it tackles.

while the film may meander some, von Horn and Langebek’s script never loses sight of the story, offering something that is deeply bleak but also worth thinking about.

Embedded in its humor is a sense of melancholy that heightens the emotions prevalent throughout the film, surprisingly tugging at our heartstrings.

It’s the little moments and details that turn it into something more profound and lovely.

While Super/Man touches upon the role, its impact on Reeve’s career and personal life, the documentary is more of a touching ode to the complicated, charming man behind the cape, and the perseverance he showed following his accident.

It’s an imperfect film that is intriguing until the end.

The film is grounded, avoiding sensationalism and empty indulgences.

Mielants’ film does a lot with little dialogue, setting the stage for something rich and thought-provoking.

The film brings the drama, but it’s never overdone and the performances from the cast elevate the material, adding dimensions to the characters’ lives.

What the documentary lacks in depth it makes up for with style, creativity, and entertainment value.

His Three Daughters is a balancing act. The characters are layered and the story is so simple yet thoroughly touching and, at times, painful to watch because of the flood of emotion that comes through.

The true story aspect will leave audiences wanting to dig deeper into the two disparate accounts, but even if they don’t, Howard’s Eden is a compulsory watch that does enough to satisfy.

The Fire Inside manages to accomplish a lot in its nearly two-hour runtime. It’s a sports drama that encapsulates the experience of living in Flint and a powerful, character-driven story that isn’t afraid to show the gritty aspects as they actually are.

Transformers One is simply good storytelling. It offers detail, solid action, and narrative depth that longtime fans will appreciate while being a nice entry point for those who are newer to the world of Transformers.

Heretic knows exactly how to keep us mesmerized. It's a unique horror experience that's sure to have everyone talking.

We Live in Time gives us what we’ve been missing from romantic dramas. It might be a tearjerker, but there’s a sense of peace watching the couple live as full a life as they can together. And really, that’s all we can ask for while we’re still here.

The psychological thriller is clever, sharp, and intoxicating, even in its eeriest moments. There’s a charm and depravity that are all too real, hanging over every scene as it makes us wait with bated breath for the big reveal that comes in glimpses and acts as stark contrasts to the characters’ initial excitement.

It’s compelling and held my attention from start to finish. The amount of times I genuinely gasped is enough to recommend it. It’s the perfect summer horror and one that will keep you on your toes.

I Am: Celion Dion is a compelling and engaging snapshot, a visceral experience that is worth watching, especially for fans.

It’s a nuanced role that Banks absolutely nails, capturing Liz’s experience in a way that makes us feel all that she’s going through.

Awkwardness knows no bounds here, and the kooky comedy has enough steam to carry it all the way through to a lovely ending.

Every moment is purposeful, every conversation sharp; the actors and the direction say more than what is on the surface.

Pitch-perfect performances elevate this magnificent film that I can’t say enough good things about.

It’s masterful in developing a gnawing suspense that permeates the film, and never falters in engaging us from start to finish.

The film keeps things simple, but it shines like a lighthouse in the darkness nonetheless.

While The CW’s Arrowverse brought Crisis to life in its own way, the animated version takes things to the next level in an adaptation that is at once sorrowful and thrilling.

There are a lot of things that could have gone wrong, but Triplett directs with confidence, bringing style, intrigue, and character depth to a story that will keep you engaged and holding your breath in suspense for what comes next.

Magpie turns certain tropes into narrative weapons, and it works at every turn, culminating in a finale that will leave you wanting more even as it gives us a tension-fueled conclusion.

Ghostlight bridges the gap between art and reality, blending a poignant narrative that aims to better understand a loved one and the expression of grief.

The dialogue-driven movie is genuinely funny and heartfelt, rarely, if ever, losing its momentum from start to finish. Conners is a confident director, bringing together a story that is personal while touching upon issues women face as they age with grace and care.

The film certainly delivers on the action set pieces, but it also scales back to lay the groundwork for the story so that the payoff is well worth it. Monkey Man isn’t some basic action thriller; it’s an underdog story about the power of the people.

The Fall Guy feels like it comes from an era of films where it was alright to be openly silly, embracing action, romance, and nonsense all in one fell swoop without ever missing a step.

You’ll Never Find Me is an excellent, audacious entry to the horror genre. It’s disconcerting and thrilling, with an emotional center and something to say. Allen and Bell confidently craft an effective story that will stay with you long after it’s over.

It’s honest and willing to go to uncomfortable places without ever feeling exploitative. It’s a raw and real portrayal of how sexual assault can happen and the mental and emotional turmoil that comes after.

Freaky Tales may not be a perfect film, but it will definitely leave a strong impression on you long after the credits roll.

Suncoast is a strong feature debut from Chinn. It’s heartfelt and filled with warmth and messy emotions that are deeply felt.

There aren’t many films that can capture a character’s feisty spirit while still contending with the struggles and feelings of growing older. To that end, Thelma is a breath of fresh air, a crowd-pleasing film that knows exactly what it is and what it’s trying to accomplish. It does so with style and grace.

Love Lies Bleeding is practically guttural, and the emotions that take hold of each character are raw and unfiltered. With action, crime, and romance mingling and building toward an explosive and engaging finale, the film is a thrilling ride from start to finish.

Kneecap is a film that shifts expectations. It’s chaotic in the best way, alive with buzzing energy and resistance.

It’s a harrowing, visceral, poignant biopic that will surely make you shed a tear or two regardless of whether you knew the Von Erich story.

It may not be laugh-out-loud funny at every turn, but Quiz Lady, with an irresistible cast, is entertaining with just the right amount of heart and energy.

Dream Scenario is at its best when it’s centering Paul and his inner world, and how his actions and events affect his family.

With a moving performance by Andrew Scott, the fantasy drama is compelling and captivating as it tackles grief, loneliness, and all that is lost to trauma and the inability to move on past loss.

The film and its character dynamics are intoxicating and wildly enjoyable, almost uncomfortably so due to the nature of their entanglements. If it had been less concerned with its twists, Saltburn could have been immaculate.

Niasari carefully and assuredly handles an intense and emotional story with ease and vulnerability. With her work on Shayda, Niasari is a filmmaker whose work we should keep an eye out for.

It’s an exemplary film that strikes an emotional and thoughtful chord.

Killers of the Flower Moon is immeasurably captivating and compelling; it’s chilling and emotional, and I doubt anyone will walk away from the film — especially considering the way its ending is set up — without feeling moved by what they’ve just witnessed.

It’s a film like no other that you’ll see this year, and though not everything works, River is a time loop jaunt that isn’t easy to forget, bolstered by fantastic performances and a deep sense of fun.

There’s Something in the Barn is a horror comedy that seems destined to be a cult classic. It ultimately delivers on its premise and has a whole lot of fun while doing so.

The result is a fun, exciting animation that keeps us hooked throughout. Yes, there is the occasional lull in the story, but it doesn’t linger before picking back up with some new story turn or action sequence.

Earth Mama is the kind of film that draws you in and keeps you hooked with its powerful storytelling and the layered intimacy within Nomore’s understated performance.

The Lesson is gripping and compelling, enhanced by its cast and score. It knows precisely what kind of movie it is and, though at times predictable, has much to say and a sophisticated, unpretentious style to go along with it.

Joy Ride is the kind of film that will make you laugh and cry in equal measure. Bolstered by a fantastic ensemble cast, the road trip comedy isn’t afraid to get dirty, but it never forgets its heart in the process.

Bolstered by a moving performance by Jennifer Kim, the film is a slow-burn, character-driven thriller that brings us to question what is real and what is imagined.

Directed by Rob Savage, The Boogeyman does an outstanding job of terrifying without forgetting about the very human emotions and relationships that anchor and elevate the story.

The Artifice Girl is engaging and compelling, bolstered by stellar performances from its cast, and exceeds where other AI-focused stories might falter.

It’s a lovely, heartfelt movie that is also gritty and deep and evocative, with outstanding performances that ground the story in every possible way.

The film has no easy answers for Celestina’s questions, but her journey throughout is all the more powerful because of it.

Self Reliance doesn’t take itself too seriously, and it’s exactly the kind of directorial debut one would expect from Johnson — and he certainly delivers a wild, energetic, funny story that still works despite a lukewarm ending.

There is a lot of love put into the making of this film and it shows in every single scene. It’s one of the best romantic comedies in a while, and not one to miss.

Talk to Me is an assured directorial debut, serving up plenty of terror, gore, and emotional beats in a story that is well-developed and carefully crafted. Audiences will be hooked to the screen, impatiently awaiting what comes next in this unsettling, thrilling horror.

The film is infectiously exuberant, with kinetic energy that never lets up. Paired with its lighthearted tone, Honor Among Thieves is a wildly good time at the movies.

The film is earnest and full of yearning and intimacy, elevated by the performances of its lead actors who, even in the film’s most abrupt moments, have so much chemistry to keep audiences watching.

Bolstered by fabulous performances by its lead cast, Passages delicately and intimately explores a love affair that goes awry because of one person’s decisions.

With an excellent ensemble cast and intense character dynamics, Knock at the Cabin is a high-stakes horror that delights in the doubt and confusion that arises.

Emotionally effective and often quite tender, the film boasts understated, powerful performances from Emilia Jones and Scoot McNairy.

Flora and Son is energetic, easygoing, and charming. With a great cast, lovely musical numbers, and a stupendous lead performance by Hewson, Carney doesn’t disappoint.

All Dirt Roads Taste of Salt’s non-linear approach requires patience and its character development is a bit thin, but the film is stunning, thought-provoking, and poignant, with each frame lovingly executed.

Bolstered by a fantastic lead performance by Priya Kansara, the film is an entertaining ride, one that is filled with love of sisterhood and energetic chaos.

It’s soulful, tender — an understated triumph. Song’s directing and writing is confident, bringing so much heart and nuance to a simple story that is inspiring, delicate, and evocative.