Mae Abdulbaki

Petite Maman is the kind of film that lays itself bare without ever being over-the-top, shaping itself into a story that lingers in one’s memory for a while after it’s over.

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

Watching Tár is akin to listening to a symphony orchestra — it's moving, passionate, and will leave one wanting more long after the lights come up.

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.

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.

Campion’s film is gorgeously crafted and detailed, emotionally effective, and layered in shades of meaning about masculinity. Mesmerizing in every way, The Power of the Dog is a triumph.

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.

The Father dives deep into the mind, delivering an engaging film that is unsettling, achingly sad, and is strengthened by Zeller’s assured narrative.

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.

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.

Chevalier, about the violinist and composer Joseph Bologne, is magnetic, a historical fiction that elevates itself beyond the conventional biopic to deliver a memorable drama about its subject's life.

Nuanced, thoughtful, and deeply effective, Gyllenhaal’s movie is assuredly executed, uplifted by a strong, striking performance by Olivia Colman.

It’s meant to shock and disgust — and it does — but while Infinity Pool starts off interestingly enough, its take on power, corruption, and privilege only goes so far.

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.

It’s a movie that will have a lasting impression on the audience as its themes, execution, and sharp, lustrous visuals fully take hold, leaving viewers with a lot to think about.

West Side Story is visually entrancing, emotional, and the choreography and staging magnetic even when certain aspects of the story don’t always work.

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.

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.

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

The film has its fair share of intoxicatingly gripping moments and watching Kaluuya as Hampton is visceral and empowering. Unfortunately, it never feels like the story gets out of its own way enough to flourish, nor does it explore the complexities needed to emphasize and humanize the characters in the way that it should.

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.

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.

With an outstanding cast and compelling themes, In the Heights soars, bringing emotional beats together in a celebration of culture and community.

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.

Limbo handles its themes with enormous grace, balancing despair with levity and a realism that makes this drama emotionally intense and worthwhile.

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

The film is actress Regina King's directorial debut and it's a timely, wonderfully resplendent exploration of the men behind the renown, stripped of their titles while among friends and ready for the next stage in their lives.

Despite being all over the place, Antlers can be gripping and potently disconcerting, with good character development making up for its pitfalls.

Masterfully written and directed, Saint Maud is a captivating, compelling, and disquieting horror film that is distinct and incredibly intense.

Despite a weaker final act, Night of the Kings is spectacular, enthralling, and gripping. It's nearly poetic in its execution and that alone makes it well worth the watch.

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.

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.

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.

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.

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

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

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.

While The Northman has a lot to offer and is quite beautiful and masterful in its execution, there is something missing. The film begins to meander a bit in the middle before getting back on track and the lack of additional character development — anything that would have given the film more depth — prevents The Northman from reaching its full potential.

A Man Called Otto aims to be a crowd-pleasing, heartwarming film, and, despite its many flaws and speed bumps, is a success on that front.

Glass Onion: A Knives Out mystery is a strong and fulfilling sequel. It will leave fans wanting even more of the charismatic detective and the situations that bring him into the middle of enticing whodunits that put his mind to work. The cast, the writing, and the twists and turns the story takes will leave the audience intrigued right up until the very end.

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.

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.

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.

It’s a film that is certainly a must-see, complex and emotionally devastating in its exploration of power and hierarchy.

Linoleum is filled with nostalgia — brought to life by the dreamlike, vivid cinematography by Ed Wu — and the overlapping of memories, the mind losing itself, and the fulfillment of a fantasy that feels incredibly out of reach. Not everything comes together so smoothly or cohesively, but the film is a solid effort nonetheless.

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.

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.

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.

Bolstered by an incredible cast, the film offers commentary on filmmaking as an art and the lengths the characters will go to outshine each other.

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.

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.

With such a slow and empty buildup, After Yang often feels as disconnected as most everyone is in the film.

Bolstered by fantastic, memorable performances, Good Luck to You, Leo Grande is an understated, empowering, and charismatic film that does not disappoint.

Neville lingers long enough, painting a picture of a lost soul who brought so much of himself to the world while also wondering about his place in it.

Thanks to the writing, directing, and cast, The Humans makes for a disconcerting, haunting, and moving watch. It’s a Thanksgiving family drama that amplifies its characters’ relationships within an eerie, charged space to great effect.

Heartwarming, elegant, and often profound in its exploration of loneliness and human connection, I’m Your Man is exquisitely charming and smart.

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.

It's gut-wrenching, emotional, and worth seeing, driven by a fantastic performance from Deadwyler that is sure to bring many to tears.

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.

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.

The film is grounded, avoiding sensationalism and empty indulgences.

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

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.

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.

I Carry You With Me poignantly captures the ache, the beauty of the characters’ love, and the pieces that get left behind in pursuit of something new.

Slow and frustrating, with a finale that is unearned, Red Rocket fluctuates between trying to say something and getting lost in its own premise.

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

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.

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.

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.

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

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.

Minor hiccups aside, The Woman King is a blockbuster with a lot of heart and a clear story that is tightly written; it’s well worth the watch.

For those who may not have seen X, Pearl may be intriguing enough for them to go watch the original film. As both a prequel and standalone horror film, however, Pearl comes up short.

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.

Poignant in parts, sharp and thrilling in others, Emily the Criminal satisfyingly delivers on many levels.

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.

Notturno is sometimes beautiful and Rosi makes good use of private spaces. But, the film comes off as an exploitation of the region and its people’s pain.

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.

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.

When its focus is on Agatha Rousselle’s Alexia and the lack of control she has over her own body, Titane digs a bit deeper. However, the film’s true weakness is in its inability to explore Alexia as a person, keeping things vague while centering the extreme body horror aspects.

Bolstered by a headstrong performance from Ramsey (who is best known as Lyanna Mormont from Game of Thrones), alongside a fantastic supporting cast, Catherine Called Birdy will be best enjoyed by a younger audience, though it’s still fun enough for viewers of all ages.

Ambitious, occasionally thrilling, and visually striking, Dune is mostly set up, building out a heartless world that never truly feels complete.

It isn’t an exaggeration to say that Plan B is one of the funniest, most thoughtful films of the year and deserves all the love and attention it gets.

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.

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.

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

While Andrew Garfield gives a driven and kinetic performance as Larson, Tick, Tick… Boom! is messy, missing a distinct spark and emotional depth.

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.

Domont’s feature is occasionally uncomfortable to watch because of how things unravel, but it’s unnerving and utterly heart-pounding in all the best ways. An exceptionally strong feature debut from Domont.

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.

The World to Come has the ingredients to build a blossoming love story, but the script is thin and far too rigid for the romance to ever fully soar.

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

The Inspection has a few poignant moments, but its lack of introspection, well-developed character dynamics, and exploration of the systems in place keep the film from reaching its full potential.

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