Monica Castillo

Wickedly sharp and surprisingly moving, John Early’s Maddie’s Secret is a melodramatic comedy like few others.

The continuation of Jessie’s story assures that Toy Story 5 has more emotional immediacy than its fourquel predecessor, though it’s perhaps not as inventive as that one in expanding the scope the series’ physical and thematic

Mixing Gothic elements with Mexican culture, bright colors, and intricate details, the unique fairytale is both mesmerizing to watch and emotionally entrancing.

While Disclosure Day doesn’t live up to the high standards he’s set, it’s still a thrill ride, thumbing its nose at authority and begging its audience for more empathy, not less. Even if not all the pieces snap flawlessly into place, Disclosure Day is a reminder of how much magic is still left up Spielberg’s sleeve, how much excitement he and Koepp can bring to a story about government conspiracy, how easily Kamiński can make an audience nervous with the smallest lens flare, and how exhilarating it feels to listen to new Williams score. But because this creative team has hit so many homers before, even a mild showing can feel like a letdown.

While the romance here feels tenuous at best, the comedy is in even worse shape, often mistaking uncomfortable oversharing for punchlines. If this was meant to be a return to form for Lopez, it’s not a satisfying comeback.

Who knew watching weather balloons flying up around the English coast could be so exhilarating? Under Maras’ direction and his script with David Haig, Pressure is a surprisingly effective war thriller, full of the hallmarks of the genre with a palpable time crunch.

Navigating a turbulent undercurrent of mommy issues, Propeller One-Way Night Coach ends up more of a bumpy ride than an all-ages tribute to soaring the skies.

Jack Ryan: Ghost War [editor’s note: the full title of Tom Clancy’s Jack Ryan: Ghost War is way too long to keep repeating] is a straightforward spy movie without excitement or intrigue, like a training exercise to keep Krasinski busy. Even the franchise’s main distinguishing factor, its rah-rah patriotism, is no match for a few moments of product placement from the Saudi tourism board.

Where Tuner truly shines is in the work of Oscar-winning sound designer Johnnie Burn and the film’s sound team as they carefully recreate Niki’s world through the film’s engrossing soundscape. Roher’s technically impressive approach to this element weaves itself organically throughout the film and its story, setting the crime drama apart from more typical crowdpleasers.

Young and Johnson drive home Harris’ emotional story with a potent chemistry both tender and volatile. They’re brilliantly paired as twins who are so closely connected that they know when the other is in trouble, but are so unique in personality that they are their own separate entities.

Through clever cinematography, editing tricks, and a cast that’s fully committed to the director’s unnerving vision, Barker reimagines a classic horror idea for a new generation.

Marty: Life Is Short is an overdue appreciation of a performer who’s underestimated as a clown only because he makes being funny look so easy.

While there’s no recapturing the delightful surprise of the first, The Devil Wears Prada 2 is still a treat for fans of the original.

The movie’s basic appeal––that of rebels rising up against evil empires––still works to some extent, but Desert Warrior does little to make it memorable beyond its historic production.

Michael is an attempt to remind audiences why so many fans fell in love with him in the first place, but it doubles as a pretty clear bit of hagiography.

Ozon’s The Stranger keeps the spirit of its source material alive as a timeless warning in a modern world of stark polarization, ongoing colonialism, and plenty of Meursaults ignoring the suffering of others.

What could have easily been an overstuffed confluence of ideas – a haunted house, a ghost, a witch, a murder, oh my! – comes together so effectively because of McCarthy’s masterful command of what scares audiences.

Its lack of visual cohesion and bizarre finale get in the way of enjoying the whirlwind of fists, bullets, fantastical fights, and a sword with katana-like powers of cutting bodies in half. No one can accuse this film of becoming boring, but its over-stuffed narrative never quite delivers on its promising start.

Like last year’s crowd-pleasing documentary, “Sally,” “Spacewoman” is a heartwarming and inspiring story of a woman defying the odds, sexism, and workplace danger to make history.

Buffeted by both an incredible cast and crew, I Love Boosters is an unexpected celebration of friendship, community, and solidarity.

Reminders of Him is so preoccupied with tragedy that the romance becomes secondary. Now, after our third Hoover adaptation, it feels like we’re getting love with diminishing returns. There’s less to enjoy, even if the movie is almost two hours long.

Dragged down by over-explanatory dialogue and tired narrative tropes, Protector brings nothing new to the table–except maybe for a confounding 11th hour twist that I won’t spoil that defies reasoning and frankly, good taste. If anyone needs rescuing, it’s Jovovich from this movie.

In a strange way, War Machine kicks off when it proverbially jumps the shark, introducing something so ridiculous as a big killer robot to jolt the movie awake from its ho-hum military recruiting motions. It’s not a movie built to withstand big questions, but for a high-octane action thriller, it’s a lot more fun when it goes off the rails.

The coming-of-age story in “Sweetness” is less sugar than spice and very little nice.

Touzani’s “Calle Málaga” is a reminder to savor the days we have in the places and communities we hold dear.

The Moment is something different, a big swing into the mockumentary genre satirizing the pressures of pop stardom and the struggle for creative control. It doesn’t always work, but Charli xcx, as ever, throws a wild party.

Unlike previous iterations of music stars struggling to make it to the spotlight, “Clika” lacks the electricity and the excitement of watching a performer bring the house down.

Andersen’s film, in its attempt to present various perspectives in this story, shifts the viewer’s attention from one character to another, diluting its emotional impact.