Mae Abdulbaki

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.

Pitch-perfect performances elevate this magnificent film that I can’t say enough good things about.

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

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.