Mary Kassel

The Moogai uses the monster and horror as tactics, but it's at its best when the story shows that it's bigger than these two elements.

Jazzy relies on the look and feel of its world to communicate what Jazzy is feeling and succeeds in painting a universal portrait of growing up.

Though the story treads familiar territory and doesn't present a remarkable discovery about human nature, that doesn't leave us any less affected by the journey.

It's gripping and effective but doesn't have anything new to say.

Memoir of a Snail never asks us or the narrative to compare the depth of sadness or experience. Every experience is treated with equal weight and importance. Even as we realize that Grace's life is becoming a string of misfortunes, it's impossible not to stick with her.

Tyler Perry's movies fall into many genres, but Divorce in the Black treads no new ground compared to his other dramas. Even in the film's most shocking moments, its narrative is part of a common formula.

MadS shows what can be done with a little imagination and faith in the audience.

Throughout the film, Arnow takes us on a quiet odyssey that captures the search for real intimacy, as Ann struggles to act on her desires in all parts of her life.

Though it's more of a reboot than a sequel, 28 Years Later pays homage to the original film without sacrificing its originality & fresh spirit.

Rebel Ridge is consistently precise in tone, theme, and pacing throughout.

The Vourdalak is an indication of where modern horror movies should be headed. I was moved not by the gruesome violence of the story but by the devastating tragedy akin to a Greek drama. The Vourdalak doesn't need graphic cruelty to get its point across, as the movie and filmmaker understand that there is even more devastation to be found in the dark.

The Count of Monte Cristo is as much a swashbuckling adventure as it is a warning about the dangers of letting yourself get lost in the desire for things that don't matter. With a gorgeous score that uplifts every scene, making them more tense, romantic, and devastating, and sets and costumes on par with the best period pieces of the 21st century, everything about the movie is planned and carefully executed.

The movie tells a tight, contained story, but spends a little too much time sharpening its emotional knives to craft a truly compelling supernatural story. Bring Her Back gets lost in the weeds of its desire to rip your heart out.

The movie is Davidtz's feature debut. What she crafts is something imperfect, but as nuanced as a discussion of this topic from the white perspective can be.

The documentary doesn't know who Jeff Buckley was. However, it might expose what we are desperate to get from him, long past the time he has anything left to give.

If Sloan and Mastroianni made Gazer with only their limited resources and spark to create something new, it bodes well for the filmmakers' futures and whatever their next project will be.

Birdeater didn't have to be a blood-soaked revenge movie to be more effective, but it took too few risks to be truly thought-provoking.

Few stones are left unturned in the callbacks to different parts of his career, and those unfamiliar with Shatner's lower-profile roles will get a kick out of seeing him outside his most iconic roles.

The Legend of Ochi isn't just a throwback in terms of style and narrative. It recalls a time when audiences had longer attention spans and were more willing to suspend their disbelief, and there's no better reason to do so than to experience The Legend of Ochi.

While fans of the Mission: Impossible franchise might shed a tear watching this emotional tribute, all audiences will be swept away by its action.

Going back to basics was the best thing it could have done. With a straightforward narrative and characters we care about who don't overcomplicate the plot, the film crafts something more timeless.

Structurally, Fitting In isn't perfect. It overuses the montage and features dialogue that leans more into preachy territory than Lindy's natural expression of their feelings. However, it's impossible to accuse the film of being anything less than emotionally truthful.

Asleep in My Palm succeeds when it finds the human connection in its message, but gives too much time to moralizing conversations and not enough to character arcs.

Dog Man is trying to tackle too many themes and morals at once, creating a mess instead of a cohesive and accessible lesson.

The Long Game doesn’t push itself far enough, but ultimately, it successfully and truthfully tells the story it set out to tell and has fun along the way.

The best we can hope for is that Summer of 69 will open the door for more contemporary conversations in coming-of-age movies that aren't afraid to have more fun.

The overarching problem is the film's tendency to be a touch too shallow, even if that's the point of the narrative. Finding out more about Hope's hidden past, the supporting characters, and the big lives everyone hints at would have made the story more compelling and helped the characters feel real.

Even if it's ultimately forgettable, the movie has an undeniable feel-good appeal, and during the cold winter months, there's no reason to take that away from anybody. Flaws and all, there's no question that this movie will find its audience and be celebrated for its nostalgia and pathos.