Mae Abdulbaki

It's good to have the actor, whose diverse filmography is certainly a memorable one, back in an exciting, eccentric big studio film.

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.

No Way Home is Spider-Man’s most intriguing & fun story yet. Though the multiverse looms large, the film's thoughtful in its focus on Peter's journey.

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.

Censor is chilling, an assured horror that blurs the line of reality for its protagonist as she delves into that which makes her most vulnerable.

Poignant and raw, the film is effective in all the ways it should be. While it does a better job engaging with its revenge-fueled storyline in lieu of a more familial exploration in the wake of the tragedy, the film still manages to land a heart wrenching blow.

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

Anchored by strong performances from Daisy Ridley and Dave Merheje, the film has pacing issues, but it's emotionally resonant, humorous, and relatable.

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

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

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.

Heavy-handed and unnecessarily long, Spencer explores Diana as a prisoner of the royal family in heart-wrenching and beautifully haunting fashion.

The Electrical Life of Louis Wain is so utterly charming and buoyant that it makes even the frustrating aspects of the film forgivable.

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.

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.

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.

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

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

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

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

Driven by the emotional drama that is constantly bubbling to the surface, the film handles the unsettling feelings of its characters and tension-building with ease, leaving the audience with a complex, compelling story.

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.

While X could have dug a bit deeper into certain aspects of the story, the film’s twists, layered themes, and intriguing character dynamics blend together to make it one of the best horror films of the year so far.

Audiences may not have much of an appetite after watching the film, but the experience, like Slowik’s promise to his own guests, will be one they won’t soon forget.

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

The film makes up for some of the missed storytelling opportunities with its stylish, exciting action sequences, and its swift pacing, all of which combined make for a fun, overall enthralling time.

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.

While the pacing dawdles just a bit in a few places, The Outside Story is an unexpectedly warm film that asks its audience to engage with their own surroundings in the hopes that they, like Charles, might find something worthwhile.

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.

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

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.

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.

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 balances multiple storylines with intense action sequences and, despite pacing issues, packs a major punch that will keep audiences riveted.

Piggy (Cerdita in Spanish) has a slow-burn intensity that culminates in a superb ending and, though the film could have had tighter writing and better pacing in places, it’s still a satisfying watch.

Diallo knows how to create a deeply disconcerting atmosphere.

Raiff captures how relationships can blossom through connection and how affecting they can be when the two people in question are both trying to take the next steps in their lives but are not quite sure how to do it. To that end, Cha Cha Real Smooth is a triumph in its exploration of its characters, and the honesty it brings to the forefront.

It’s a rousing horror with entrancing lore, an eco thriller with interesting themes, and a hostage drama that banks on gruesome and disorienting actions. Not everything comes together cohesively, but the story has a lot to offer and it’s grounded enough to leave a big and lasting impression.

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.

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.

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.

Cyrano is a magnetic, musical romance that peels back the layers of its title character in new, exciting ways.

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.

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

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.

Luca is a wonderful coming of age story with a nice message that balances deep emotions and a lot of adventurous fun.

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

Weird lives up to its name. It's utterly ridiculous, a satire of biopics in the best way. It exaggerates anything and everything that happens (and doesn't happen) in Yankovic's life to the point of being so over-the-top one can't help but laugh at its absurdity.

There's an air of tranquility about it and Spielberg does well to balance a few comedic moments with a whole lot of heart. Even the more dramatic moments are depicted with patience and warmth. It's as if Spielberg is softly wading through his own memories, pulling open the doors to see each one with a lot of light and love in tow.

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.

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

While introducing a few arcs it doesn’t fully explore, Candyman is replete with haunting imagery, disconcerting horror, and thought-provoking themes.

The Way of Water is overlong and stretched thin on story, but the Avatar sequel is beautiful, with lush world-building and characters that add depth.

7 Days is emotionally resonant, sweet, tender, and genuinely funny.

The film, directed by Peter Bebjak from a screenplay he co-wrote with Jozef Pastéka and Tomás Bombík, is urgent, effective, and also deeply painful.

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

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

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

It's a fun and intriguing ride that, though it leads to an ending that one might guess is coming, has great energy. Clemons is a charismatic lead who delves fully into her role. When all the puzzle pieces finally come together, the film fires on all cylinders and makes for a magnetic watch.

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

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.

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.

Elevated by phenomenal performances from its cast, the film tackles a difficult subject with thoughtful sensitivity, levity, and spirited discussion that will leave audiences thinking about the film and its central premise for a long time after it's over.

A moving and well-acted film, Belfast explores the decisions families make in the wake of devastation and turmoil; it’s Branagh’s best film in years.

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

The action sequences are fun. Paired with the film’s visual style and horror elements, it fares well enough, though the personal journeys are lacking.

Jennifer Lawrence and Brian Tyree Henry are excellent together. They have great chemistry and their conversations and jabs at each other feel natural.

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

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.

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.

Nude Tuesday is incredibly entertaining and, though the central premise starts to wane after a while, the story picks back up as it nears its end.

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.