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.