Monica Castillo

Oakley’s care and McEwen’s intense performance make Blue Jean one of this year’s most impressive movies. It deals with so much heartbreak without as many words; its pain is communicated through its somberly beautiful palette and performances.

As a Latina critic who has been writing about my community’s stories for as long as I’ve had a career, I want better for us and our storytellers. While I enjoy some aspects of this movie, I’m not sure the means justified the lackluster result.

The film explores the tender feelings of relationships at various stages, from budding playground crushes to adulthood’s alleged certainty. It’s the kind of nuanced movie that allows for self-reflection as well as entertainment, following two characters who illustrate how relationships—both fully realized and not—influence our lives.

Overblown caricatures and stale jokes about “don’t you know who I am?!” and going to see his wife’s shaman feel about as empty as a finished cup of coffee, and unfortunately, this movie has nothing else to offer for a refill.

The Starling Girl is so effective because it feels so specific to the character Parmet creates but remains accessible to people who haven’t shared her experience. The film is rich in detail, both in the sense of what it’s like growing up in a very religious community and what teenage rebellion looks like when just acting like an individual is enough to earn a stern talking to from an elder.

Unrest is an intriguing period piece but a flawed curio that never quite achieves its soul-stirring goals.

In this flavorful milieu of genres, Manzoor emerges with a sensibility that’s uniquely hers and a thrill to watch. Kansara, also making her feature debut, brings an energetic presence to the screen, matching Manzoor’s irreverent humor and sharp dialogue with pitch-perfect delivery.

Judy Blume Forever is a charming introduction to the author, her life story, and the inspirations behind a number of her books. Fan or not, this lovingly crafted tribute to the author feels as friendly and welcoming as Blume does greeting customers at her bookstore in Key West.

Sick of Myself works as well as it does due to Kujath Thorp’s charismatic performance.

The best preachers always know how to tell a story and tie it back to a Biblical lesson, but director Sean McNamara has less than a youth pastor’s grasp on his main character’s crisis of faith.

The Unheard has its shining moments, but they are not enough to cover for some duller missteps. Although the premise is strong, its execution is less-than-convincing.

Quivoron, who co-wrote Rodeo with Buresi, often switches gears between character study and a heist movie, creating an uneasy whiplash.

As far as Scream sequels go, we’ve seen worse, but the wear and tear of the years are showing on Ghostface’s mask. The script is serviceable but surface-level, bringing up interesting ideas but never following though on them.

The Forger is constantly wrestling with its comedic impulses and the gravity of its time.

While there isn't enough to love about the film itself, there's enough from Antebi and Caribel’s stunning performance to keep God’s Time lively, making it a memorable feature debut for both director and star.

Chou’s Return to Seoul is an uneasy exploration of the concept of home and the heartache of losing it, following an imperfect heroine on her emotional journey to find a home in herself.

Centering the character’s experience is pivotal to making the movie so effective, but when it deviates from those visual guidelines, it feels like it loses a touch of its power. As a trained actor with a camera on him throughout the entirety of the film, Poikolainen shoulders the task with a stoic grace and a sardonic wit.

The scenarios of Hansen-Løve’s films can feel rarified and unique at first glance, yet they are painfully relatable on some level. They may be devoid of melodramatic showdowns, but there’s a quiet ferocity to them in the way they so deftly address our daily pain, insecurity, and loneliness, still resonating with us long after the movie’s over.

Kendrick’s performance is one of the strongest aspects of “Alice, Darling.” Under Nighy’s direction, they create an emotional portrait of someone on the verge of being lost to a warped distortion of love but who realizes they were surrounded by the real thing the entire time.

While this remix of "House Party" may leave some nostalgic for the original, it smartly doesn't try to copy the first film. However, it does stay true to the first version's celebration of friendship.

It may not come together as smoothly as the best feel-good movies of its kind, but there's an unwieldy charm to Joyride that makes the trip memorable.

Throughout To the End, there is a clear sense of urgency to the call for action.

The Swimmers is about a cause much bigger than the Olympics and is told on a personal scale that makes the issue accessible and unforgettable.

Similar to how Pixar’s Coco paid tribute to Mexican culture, Encanto holds many nods to its Colombian roots, from the use of flowers and animals specific to the regions to crafting songs that incorporated their respective countries’ musical palette.

India Sweets and Spices works so well in part because Ali gives her character the authenticity of someone trying to do the right thing while still figuring out how to handle her privilege and tradition.

C’mon C’mon is the kind of movie that invites reflection. It’s not building towards a larger cinematic event or full of explosions. It’s a sincere drama about relationships, told from the perspectives of different members of one family.

The game of wits between Phil and everyone else is a chilling one to watch, and it’s exactly the kind of end-of-the-year movie to finish things with a bang.

Some moments are sweeter than others, but overall, this cookie cutter rom-com has nothing more or less than what its subgenre demands.