Mae Abdulbaki

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.

As far as middling entertainment goes, Five Nights at Freddy’s fits the bill.

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

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.

Despite Foe’s shortcomings, it has plenty of heart and something to say. Its visuals are magnetic and Ronan and Mescal give their all in gripping, emotional performances.

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.

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.

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.

Occasionally intense and always interesting, Sri Asih is certainly worth a watch.

The film’s disparate elements and overarching themes don’t entirely come together by the end, leaving the story’s emotional throughline weakened as a result.

A Million Miles Away is genuine in the way it presents its story, and the struggle Hernández endures, but it’s also so laser-focused on his space goals that it forgets to explore his inner life.

The film is still very watchable, and it has a lot of heart that makes up for its overall lack of focus and certain emotional throughlines. But where cohesiveness and pacing are concerned, this sequel leaves a lot to be desired.

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.

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.

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.

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.

Despite a fantastic cast, Wildflower doesn’t live up to its potential, and uses its disabled characters as vehicles to drive the main character’s story, which will leave a bitter taste in your mouth after all is said and done.

Bolstered by a moving performance by Jennifer Kim, the film is a slow-burn, character-driven thriller that brings us to question what is real and what is imagined.

Directed by Rob Savage, The Boogeyman does an outstanding job of terrifying without forgetting about the very human emotions and relationships that anchor and elevate the story.

The film’s cast is great and, though the actors typically have great comedic timing, the dialogue falls flat and renders the humor inert. About My Father has a heart at its center, but it never really gets there in terms of having a compelling story and humor to elevate its scenes.

The Book Club sequel will make you feel as though you’re reuniting with old friends for some wine and life lessons, and that’s enough.

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

The story has no heart, genuine romance, or humor, the spy subplot is mechanical, and the actors don’t mesh together as well as you might expect. All told, Ghosted doesn’t even meet the lowest standard for what would make a romantic comedy remotely decent and that is disappointing considering the talent involved.

Renfield is goofy, with fantastic action sequences and a few comedic beats that land, but it could have also been so much more.

Paint could’ve been funny; it could’ve had more heart; it could have even been more fun and ridiculous, with something interesting to say. But it's a mess from start to finish.

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.

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.

The film has no easy answers for Celestina’s questions, but her journey throughout is all the more powerful because of it.