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.

There’s a sincerity that underscores its central themes, and the performances, writing, and direction don’t cut corners to get to the end. And what we end up with is a comedy-drama that understands what a thoughtful exploration of a relationship can look like onscreen.

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.

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.

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.

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.

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.

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.

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 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’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

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.

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.

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.

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 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.

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

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 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.

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.

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.

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.

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

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

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.

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.

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.

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.

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

It’s a film so soulless I questioned the point of it.

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

The film is grounded, avoiding sensationalism and empty indulgences.

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.

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.

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.

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

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.

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 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 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 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.

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.

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

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.