Mae Abdulbaki

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.

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.

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 the kind of movie that’s simultaneously a feel-good tear-jerker that’s deeply personal in the themes it tackles.

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.

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.

From a bizarre villain to unexpected musical numbers, Barb and Star Go to Vista Del Mar is egregiously bad, but with splashes of occasional humor.

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

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

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.

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

The film’s characters are human and, while they’re afforded depth and nuance, Ebo isn’t interested in coddling them or excusing Lee-Curtis’ behavior. And it’s in the balanced exploration of characters and religious hypocrisy, the blending of the facetious with the serious that makes the film worth the watch.

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.

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.

Where there could have been thoughtful, poignant commentary about life’s regrets and the turmoil that can continue to permeate a father-son relationship over time, Mortensen drops the ball completely. Without a cohesive story, Falling spirals and offers little beyond good performances.

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

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.

While it's heavily nostalgic, The Matrix Resurrections does have something to say about living in the past and the difficulties of moving forward.

Winslet’s got plenty of fire as the titular photographer, but the biopic’s spark quickly fades.

The film is ultimately underwhelming and lacking the urgency needed to drive the story and lend realistic consequences to their endeavor.

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.

There are inklings of something more interesting and rich beneath the surface, but Dual never brings the pieces together.

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.

It’s an intricate and beautifully crafted work of art that’s quietly meditative and lovingly told.

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

Marks’ sophomore outing can be quite charismatic and fun, but it’s a misfire when it comes to exploring the couple and their attempts at polyamory.

It’s masterful in developing a gnawing suspense that permeates the film, and never falters in engaging us from start to finish.

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.