Mae Abdulbaki

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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.

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

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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.

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.

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

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.

Paint could’ve been funny; it could’ve had more heart; it could have even been more fun and ridiculous, with something interesting to say. But it's a mess from start to finish.

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.

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.

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

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.

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.

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 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 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.

Despite a stellar cast, Marlowe doesn’t rise to the occasion, stumbling along without ever finding its footing.

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.

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.

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.

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.

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.

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.

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

As hypnotic as Eileen is, the film ultimately falls short. Its final moments suggest that it could have become a completely different film than what was initially presented. Had there been enough time to flesh out the story and build up the tension, the final Rebecca twist would have worked a lot better.