Monica Castillo

Each new truth unearths a new layer of tragedy, but Romería pushes Marina, and by extension Simón, to dig deeper to understand her parents and the family they are all a part of. It’s awkward and painful, yet so is solving the mystery of the previous generation.

While Jenkin’s story is tightly controlled, with little explanation as to how this time jump happened and almost no room for big emotions, his visual storytelling is deeply expressive.

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.

With unbelievable dialogue and a truncated timeline of events, Song Sung Blue ends up dabbling in “Walk Hard” territory, making the film seem silly even when the couple at the heart of this story only ever wanted to play the hits.

It’s not an unenjoyable ride, but there’s a lingering sense that it could have been made a bit more fun and campy along the way.

Julia Jackman‘s beguiling feminist fairytale “100 Nights of Hero” is an enchanting tribute to the power of storytelling.

David Freyne’s charming afterlife comedy “Eternity” takes a simple premise of a person forced to choose between two prospective suitors and elaborates the concept with clever world-building and emotional relationship dynamics.

Yen Tan’s “All That We Love” is a quiet drama that’s surprisingly moving yet gentle, giving a well-known comedian a complex role to prove herself. And in this case, Margaret Cho defies expectations, bucking the caustic and bombastic persona we’ve grown used to seeing her bring to the screen for an on-screen performance that’s almost soft-spoken, a woman who genuinely feels lost among life’s many changes.

Josh Boone’s adaptation of Colleen Hoover’s “Regretting You” is a romantic drama with big emotions and plenty of both romance and drama. But too much of a good thing can be a bad thing, and in the case of “Regretting You,” the narrative buckles under the number of overblown emotional scenes and the commercial interruptions for product placements.

Condon’s “Kiss of the Spider Woman” is a reminder of what a great on-screen musical looks and feels like.

With Sachs’ painterly compositions and Whishaw’s deceptively effortless performance, “Peter Hujar’s Day” is a surprisingly beautiful and subtle tribute to the balancing act it takes to be a working artist.

While Mercedes Bryce Morgan’s newest film, “Bone Lake,” doesn’t necessarily break new gory ground in the category, it’s a fun, messed-up horror thriller playing with both familiar tropes and modern-day anxieties of love, sex, and finding out that someone has booked the same rental home for the weekend.

Anenome is Ronan Day-Lewis stretching his canvas beyond his background in painting, and while there are some interesting crossovers between the broody visual style and eye-catching surrealism, he still has much space to fill.

Doin’ It is more of a fling than one for the books, but it’s a fun one, nonetheless.

At a time when it seems like women’s representation seems to be regressing, the intention of the film feels more timely now than when the film ends in 2019, before the pandemic, and the fondness for dating apps starts to wear off. But it was the user experience of the film—where its simplistic narrative design leaves no surprises and plenty of shallow characters—that felt unsatisfying.

Director Raoul Peck, no stranger to connecting the past to the present as he did with “I Am Not Your Negro,” collaborates with the Orwell estate to retell the story behind the man who gave the world 1984 and Animal Farm and explore the themes Orwell illustrated in those works to current events to show how Orwell’s warnings have gone unheeded through the years. The result, “Orwell: 2+2=5,” is an ambitious work that is provocative but sometimes convoluted.

While “Eleanor the Great” never quite recovers from the moral issue at its center, Squibb’s lively performance makes it memorable.

Linklater not only pays his respects to Godard but also shares that adoration for his craft with his own audience.

The Threesome ends up kind of a mixed bag, cute but a bit disjointed.

Ultimately, the spirit of “Love, Brooklyn” is tenderness. It is both a love letter and a sympathy card: an acknowledgement that growing up sometimes means letting go, embracing the changes that come with time, and that loving someone does not always mean holding on to them.

As a whole, “What We Hide” has the feeling of an old after-school special, a melodramatic lesson about a topical issue.

The couple doesn’t quite light up the screen with their chemistry, and the writing feels much too basic, given these are meant to be characters in a literature degree program. Thankfully, there are moments of levity, a number of cross-cultural jokes, and supporting characters to lighten the mood.

Written and directed by Giovanni Tortorici, “Diciannove,” which means “nineteen” in Italian, plumbs the depths of young adulthood in that strange transition year, from the dizzying highs of feeling invincible on the dance floor to realizing just how much about the world you still have to learn.

[Costa's] outsider perspective gives no warmth of familiarity, only the startling realization of what they have accomplished so far and what remains ahead for a democracy trying to regain its footing.

We could all use a little distraction these days, and there are worse ways to spend the time than in the company of an engrossing erotic thriller. Unfortunately, “Pretty Thing” isn’t one of them. Between stilted conversations, murky cinematography, and the story’s intimate partner violence, the film is distracting in an unpleasant way.

Victor’s offbeat film may not resonate with everyone, but their approach to this story and its heavy topic is impressive. It feels refreshing to see characters discuss this taboo topic without making it the defining focus of their lives.

Michael Pearce’s grim thriller “Echo Valley” is a melodramatic mess redeemed by the performances of the film’s exceptional cast.

Although charming, the slight “I Don’t Understand You” struggles to sustain its spark. It’s a series of silly events that get progressively ridiculous and bloodier.

It may not meet the high watermark of the brothers’ first outing, but “Bring Her Back” is still quite the wild ride and shows the pair still have plenty of spooky tricks up their bloody sleeves.

Somehow, Yamanaka finds a balance for her complicated character to navigate her tantrums and tender moments.

With “The Moogai,” Bell wrestles with the horrors of the past and acknowledges the history of the Aboriginal children who never had a chance at a future.

Written by Franklin, “Salvable” struggles to find its footing as both a family and crime drama, but it does one better than the other.

Invention is a unique collaboration between director Stephens and actress Hernandez that melds fact, fiction, and commentary all in one tribute to an estranged family member. As the movie progresses, there are moments where reality and fiction blur together.

Conners’ first narrative feature is a rocky start but not without some promising notes.

In addition to Ozon’s impressive work as writer and director, much of the credit for “When Fall is Coming” belongs to the ensemble cast, each of whom brings a unique element to the mix that makes the story so engrossing.

Leonardo van Dijl’’s “Julie Keeps Quiet” is more about what is left unsaid than what’s spoken. Co-written by van Dijl and Ruth Becquart, the film is a quiet drama about keeping secrets buried within and what happens when details finally come to light.

The result is absolutely delicious, a svelte piece of entertainment that feels like a vintage yarn yet very much represents our own current anxieties, questions of sustaining trust in relationships and high-stake careers.

On Becoming a Guinea Fowl is an uncomfortable but entrancing watch, a tribute to shattering silence around family secrets and bucking tradition for the sake of empathy.

Ultimately, the threadbare quality of Constantin Werner’s screenplay cannot be smoothed over with gobs of CGI effects (impressive as some of these sequences look) and the star power of Milla Jovovich and Dave Bautista.

While “Cleaner” may not be one of the most refined action movies this year, it has a bit more to offer than most, especially when it comes to Campbell’s thoughtful direction and Ridley’s committed performance.

Co-written by Rankin, Nemati, and Ila Firouzabadi, “Universal Language” is delightfully absurdist, with little moments in each story that both make sense yet defy expectations.

Even if it falls short in some regards, “Kidnapping Inc.” is a splashy debut that commands your attention from start to finish.

Visually, Chenillo’s film doesn’t stand out, but it’s a pleasant enough story with a hopeful tone, celebrating each of Lucca’s victories, from holding on to the sides of the tub with both hands to kicking a ball for the first time to taking his first steps.

While “Night Call” delivers in the thriller department of the narrative, it stumbles when trying to tackle the politics of the day.

Ad Vitam, which in Latin means “for life,” is at times brisk but narratively unclear, delivers its share of action, but not the characters to keep you emotionally invested.

While “The Love Scam” isn’t breaking new rom-com ground, it sufficiently checks the expected boxes and features a formidable romantic pair with Folletto and Adriani.

Los Frikis is a complicated movie with good intentions and the goal of sharing underreported stories from the island. I want that too, but I found Los Frikis too saccharine given its somber topic. Perhaps its harder edged critiques were softened for international audiences, but I would have preferred the film more thoroughly wrestle with the emotional, political, and social complexities at its center.

“Don’t Look Up” told a story while jackhammering its message, but “2073” plunges its audience right into police violence and terror with little thought in the sci-fi aspect of the narrative. It’s merely the aluminum foil to deliver the filmmaker’s thesis.

Quiet yet moving, “The Room Next Door” is a heartfelt meditation on friendship, grief, and death.

Jordan Weiss's feature debut, "Sweethearts," has its charming moments but feels uneven overall.

From Cole's own words and interviews with his friends and loved ones, Peck writes a thorough narrative through the highs and lows of the photographer's life, including details about his childhood in South Africa and many years of homesickness abroad.

It’s no surprise that the cinematographer’s directorial feature debut is an alluring ghost story full of visual intrigue and surrealist imagery, giving him the space to showcase his strengths while working out some of the storytelling mechanics.

The Graduates is a reflective movie, an emotional story without telling you how to feel, only that for many people across the country, learning to live with grief can be just as important as planning for the future.

Its uneven, heavy-handed approach to breakups and bad exes may quench some urge for revenge, but our main character’s heart isn’t in it.

The film is not just a glossy period piece; it’s an emotional story about human resilience, one that’s sadly still too familiar almost a century later.

So, if the couple at the center of this romantic comedy lacks chemistry, can you at least enjoy the scenery or the retreat’s resort? Unfortunately, this is not “White Lotus.”

By anonymizing both the callers and the places featured in the documentary, “Intercepted” becomes a sobering portrait of the many millions of lives interrupted by this war.

Ultimately, “Azrael” lacks the energy or chills to terrify viewers.

Despite its shortcomings, “Saturday Night” works as a crowd pleaser for those who watched Chevy Chase take command of the Weekend Update desk, John Belushi tear up a stage with his intensity, or Dan Aykroyd and Gilda Radner crack up the audience with their absurd characters.

The Substance works as well as it does because of Moore’s unbridled performance as a woman struggling with self-hatred, society’s treatment of her, and a newfound dependency on a miracle drug.

This strange and creative approach to storytelling and family therapy is a small wonder to see in action.

It is another advocacy film without answers, pretending that the mere act of bringing awareness to a problem solves it.

There’s almost nothing to savor from this movie past its initial premise, and, like a funeral that drags on in the summer heat, takes far too long to get to its inevitable conclusion.

Written and directed by Mikko Mäkelä, “Sebastian” plays like a cautionary tale about toxic ambition.

By the end, “Find Me Falling” lands on uneven ground. It’s as if this lighthearted romantic comedy has its frothy bubbles burst by the sudden encroachment of dramatic interruptions and uninspired pop music and lyrics.

Tamahori and co-writer Shane Danielsen may have taken some historical liberties in loosely basing their script on true events, creating composite characters or writing in new figures. Still, if the goal of “The Convert” was to give a sense of New Zealand when most of its residents called it by its Māori name, Aotearoa, then it is successful.

Written by Jesse Orenshein, the script for “The Secret Art of Human Flight” is just as inventive as it is emotional.

Thankfully, “Queendom” is not a dull documentary on a fascinating subject.

I Used to Be Funny works through its themes in a thought-provoking way, structuring the story more like a mystery to be solved for its main character to move forward and touching on issues of consent and relationships along the way.

On reflection, “Sight” is a beat-by-beat wholesome biopic built to leave its audience feeling good and inspired by its sermon.

The goal of Power is to call police brutality into question, not put it on trial. It feels like a primer, a crash course for those who didn’t know and more food for thought for those who do know of its dangers and its harrowing legacy in this country.