Rachel LaBonte

Ultimately, it is a gorgeous film that's empty inside despite all of its interesting ideas and good intentions.

Driver's Ed hardly reinvents the wheel when it comes to the YA world, and it's far from perfect. Still, with its string of solid laughs and a very game cast, it makes for an entertaining adventure that goes down easy.

Poetic License has a classic sort of feel that makes it a very enjoyable watch. It keeps a good pace, mixes the heart with the hilarious, and spotlights an incredible collection of performers.

It's the kind of eccentric true story that seems tailor-made for a movie, and McAvoy brings it to life with plenty of high-spirited energy.

The Christophers trusts its two leads and their characters to guide the audience to its desired conclusion, and watching it unfurl is a rewarding experience.

With an aching heart, lush visuals, and magnetic acting, Hamnet is undoubtedly one of the best movies of the year and will continue to resonate with audiences for years to come.

The biggest selling point is Squibb. With a mischievous twinkle in her eye, she shoots off wisecracks and plenty of grandmotherly affection, and you almost wish you could be friends with Eleanor too.

Even with its flaws, it’s largely an entertaining film with plenty of humor and a story that truly must be seen to be believed.

Ansari has brought his familiar comedic charm to a solid, original story, and the end result is an all-around good time.

As a character study, Blue Moon is imperfect, but its smart framing of a pivotal moment in Hart's life elevates it.

Rather than being a well-rounded look at Martin's life, Christy offers a shallow, unbalanced perspective. It's light on its feet in some parts and heavy-handed in others, and though Sweeney gives a strong performance, I can't help but feel like she deserved a better showcase for her talents.

This movie is as close to a perfect ending as the franchise could get.

With such incredible performers as Colman and Cumberbatch at the center of it all, though, it's easy to have a blast. You'll want them to break up just as much as you want them to make up, and that is the most impressive thing of all.

I would love to spend more time with this ensemble. While the story deviations can prove a bit frustrating, the movie is its own thing, and I suspect it'll be a crowd-pleaser.

The jokes fly and mostly land, though that's largely thanks to the skill of the cast.

She Rides Shotgun packs a punch — or, to use one of Nate's lessons for Polly, hits you like a baseball bat to the back of the head. The subplot with the local gang may be forgettable, but the father-daughter relationship will stick with you for a long time.

Gordon and Lerman are both in great form, going a long way in carrying the somewhat problematic premise.

Sorry, Baby is the kind of movie that will linger and stick with you. It is far more than a story about trauma; it's also about friendship and growing up, concepts that will feel deeply relatable to anyone.

Pixar's latest big screen adventure, Elio, is a big-hearted tale about friendship, family, and connection, and it will both delight and wreck you.

Her first outing is largely a rush of violent, thrilling action, entertainingly served up for the big screen, but it isn't without its problems. I just hope that if this killer gets to dance again, she's better served by a more streamlined narrative.

The Life List doesn't offer too many surprises or dwell in any unpleasantness for too long, making for a simple and relaxing viewing experience that hits right in the heart.

Disney's Snow White is hardly a misfire, with Rachel Zegler shining as the titular princess, but it can't avoid familiar live-action remake problems.

Seven Veils still falls prey to its own expansive focus, making it a compelling yet unsatisfying drama.

Between the humor and Quaid's performance, there's so much fun to be had here that it's easy to just sit back and enjoy the ride.

It doesn't reinvent the rom-com wheel, but it makes for easy, pleasurable viewing.

It could've made for a sharp comedy, but there's an ickiness that overwhelms the whole movie.

The whole Armand cast is stellar, perfectly conveying the characters' shifting allegiances and uncertain moral stances.

Witherspoon and Ferrell play off each other fairly well, but I'm not convinced they have the chemistry necessary to pull off some later developments that I won't spoil here (but honestly, it's easy to guess what it is fairly early on). Throw in some big cameos that really don't go anywhere — the trailer already revealed Peyton Manning, who does nothing — and you get a fit-to-bursting comedy that's only intermittently successful.

This is a franchise that has treated its supporters with respect while opening its arms to newcomers. Because of that, the weaker elements of the film feel unimportant in the wake of a genuinely entertaining time that will no doubt thrill audiences of all ages.

Assisted by franchise veteran Lebo M., Miranda brings his addictive melodies and spry lyricism to the movie and creates a soundtrack that can hold its own against the original.

Scrap is ultimately an unflinching and sensitive portrait of a woman faced with the terrifying uncertainty of rebuilding her life. Though some of the harsher realities of being homeless aren't explored in much depth, and the ending is a touch too neat, Kerr crafts a compelling journey for us to go on, one that should linger after it's over.

With Stiller at the center, Nutcrackers is a solid, if not incredibly memorable, holiday effort.

Save for the tiniest of things, Wicked is a worthy screen adaptation of the musical, guaranteed to make viewers feel like they could defy gravity too.

The animators bring this world to life with expert skill.

The Critic was far less fun than I had hoped it would be.

It's a testament to the care that went into this movie, the hard work of the cast and crew, and the power of the story itself that I left the theater both moved and inspired. This is a movie that will likely stick with me for some time, and I'm glad; I think it's not one that should be forgotten.

Twisters is the kind of blockbuster the summer movie season was made for, and it proves sequels don't need to be beholden to what came before.

This is the kind of movie I'd like to see more of, the kind that wears its heart on its sleeve and takes us on a ride. A meandering ride, sure, but even a long trip can have its perks.

The movie's brisk pace keeps the cracks between the various plot threads from showing initially, but upon further inspection, it's clear Despicable Me 4 has so much on its mind, it's forgotten some of what makes the franchise so delightful.

Luckily, Johnson and Penn's compelling dynamic keeps us hanging on, right up until the moment they part. That final beat could've been shorter to make more of an impact, but that doesn't lessen the satisfaction of the journey overall.

It proves to be a fulfilling and heartwarming journey.

At times, it feels as though The Garfield Movie is going through the motions, and it fails to offer anything particularly noteworthy about its main character.

The Strangers: Chapter 1 ends with a cliffhanger that paves the way for Chapter 2 , and that, I feel, is where this new trilogy will really get the chance to take off.

Despite the clunkier elements, though, IF pushes through with its warmth and optimistic tone, paving the way for some truly effective moments.

When it comes to horror, sometimes originality isn't necessary; what's key are the scares, and how everything unfolds. Unfortunately, Tarot falls flat in the former category, and the latter isn't particularly engaging.

Underneath its weaker spots, Turtles All the Way Down is bolstered by genuine heart and an excellent central performance from Isabela Merced (Madame Web, Instant Family).

The issues from the first installment are still there — and, in some ways, they only get worse.

Ghostbusters: Frozen Empire has a lot of potential and a chilling new villain, but too many characters and a slower plot leads to dimmed thrills.

Lohan's latest Netflix movie is an inoffensive rom-com with ample amounts of cheesiness and heart.

Though following a familiar formula that's running the risk of wearing thin, Kung Fu Panda 4 still finds heart in the reliable Dreamworks franchise.

Marmalade is one wild ride, as long as you're willing to stick with it.

With Rebel Moon, Snyder is positively bursting with exciting ideas, but they lack compelling characters and a solid plot to hold them up.

It may not be breaking ground in any major way, but Family Switch knows how to play within the absurd rules of a body swap situation, and it does so in an entertaining way.

It's an interesting idea, trying to base a story around the idea of wishing on a star, a concept that has been Disney's foundation for decades, but Wish struggles due to a weaker script. But I can't lie: I was charmed by Asha's story and the vibrant world she lives in, and that can make up for any flaws in the execution.

With top-notch performances and production design, The Ballad of Songbirds and Snakes is a worthy addition to the Hunger Games franchise.

What Happens Later isn't without some hiccups in its execution, but with Ryan at the helm, it's impossible not to feel charmed.

It's a fascinating and sympathetic look at the anxiety that can arise and the ways OCD can affect a person's relationships with those they love most.

In some ways, The Exorcist: Believer feels tame when it comes to the full potential of its premise.

Reptile gets an extra edge thanks to its rock-solid cast and sufficiently gripping mystery, but it never coalesces into anything incredible.

Those willing to embark on Fremont's modest, gently heartbreaking journey will find themselves rewarded by what it has to offer.

Overall, The Hill is lacking many of the hallmarks one would expect from a sports movie, pushing aside major events in favor of returning to its religious messaging. This leads to some baffling choices in its character development and storytelling, and those in turn erase much of the tension and emotion from the movie.

It's an entertaining movie that also serves as a great showcase for Gadot's action chops, but it might not linger long in the memories of viewers.

Ruby Gillman, Teenage Kraken's story could've used a more well-rounded approach, but the strength of its cast and character dynamics make for a solidly entertaining watch.

Indiana Jones and the Dial of Destiny doesn't quite match the highs that came before it, but with Ford's assured performance at its center, it's still an entertaining and nostalgic ride.

Marshall has captured enough of the magic from the original to entertain longtime fans. Bailey's Ariel is one for the ages, and McCarthy is fantastic as Ursula. With these two ladies on board, The Little Mermaid is a genuine delight.

Though the sparks could be brighter for its central couple, What's Love Got to Do with It? still has plenty of charm.

Director David Lowery (Pete's Dragon) brings a more mature sensibility to the tale of a boy who never wants to grow up, and it ultimately yields some mixed results. While Peter Pan & Wendy is strangely lacking some magic, it is saved by a scene-stealing Jude Law and a narrative that forces one to reckon with Peter's more negative traits.

While it might've been nice for Mafia Mamma to reveal more details about Kristin's ascension as a mob boss, its humor and Collette's performance make it a solid ride anyway.

One True Loves may not be Reid's most popular novel, but its adaptation is nevertheless handled with genuine care. The soapy premise won't be for everyone, and its heavy-handed approach can alienate. Still, those willing to join Emma on this (mostly) complicated journey may very well find themselves charmed by the end.

Those willing to go along with Billy's patchy journey just might find themselves entertained by what this DC sequel has to offer.

This movie won't be for everyone, but Dafoe enthusiasts will have to check out his go-for-broke depiction of a man at his wits' end. It keeps the movie exciting even when the pacing falters.

The Quiet Girl is an earnest depiction of family and unexpected connections that lingers long after the credits roll.

Led by a stunning Emma Mackey, Emily is a striking depiction of a woman embracing her individuality while crafting an iconic piece of literature.

At Midnight has a certain Old Hollywood flair that gives it a unique edge, but its surface-level approach makes the romance more frothy than impactful.

Somebody I Used to Know is a refreshing take on routine rom-com tropes that, while suffering from a slow start, makes for a rewarding journey.

Alice, Darling is a respectful and piercing character study that also serves as an excellent showcase for Kendrick's talents.

When You Finish Saving the World is filled with interesting ideas and scenes, yet is hindered by character development that feels incomplete.

Christmas with the Campbells tries to take some big swings toward shaking up the conventional holiday movie mold, but it ultimately ends up being more of the same, just with some sticky moments. The earnestness of its cast, especially Snow, makes up for some of the other elements that are lacking.

Those looking for a heartfelt tale of family and love might find this one misses the mark, but other viewers willing to go along for the ride could find themselves grinning by the credits. The People We Hate at the Wedding will likely be somewhat divisive, and that makes it a rather intriguing movie in the end.

This is a sequel that doesn’t quite surpass its original, but is still a worthy follow-up all on its own. Anyone who enjoyed the original Enchanted should find plenty to love here.

Though messy at times, Black Panther: Wakanda Forever is an impactful examination of grief aided by excellent character work and exhilarating action.

Though suffering from repetitive plot beats and thin characters, Black Adam is powered by Johnson's performance and its promise of an exciting future.

Anchored by two great lead performances, Raymond & Ray is at its best when exploring the odd relationships between its complicated characters.

Those who prefer their period pieces to be more traditional will find this blasphemous, but those willing to imagine a 16th century Verona with updated characters will get a kick out of Rosaline's antics.

At times fun and well-made, Amsterdam's meandering plot and thinly-drawn characters bog down what could've been a zippy story of crime and friendship.

For all its more serious moments, The Good House actually feels a lot like comfort food. It could be due to the vivid community the filmmakers have built, or because of Weaver's multifaceted performance. It also could be because, at its core, The Good House is about inner growth and the value in appreciating loved ones.

Ultimately, Railway Children struggles a bit in balancing its tone and grand ambitions. However, for those looking for a sweet story about the power of friendship and childlike willfulness, this movie just might win them over.

Though The Alternate could've been better served by a deeper exploration of its themes and characters, it offers a unique take on a familiar idea.

There are some things that Into the Deep does well, but it is ultimately too slight to really commit to any of its interesting ideas. By the time the violence between the three characters ends, one just wishes their conflict had included a bit more flair.

Though leading lady Lili Reinhart does her best, Look Both Ways struggles to make a lasting impact with either of its dueling timelines.

Aided by an excellent young cast, Secret Headquarters is a fun adventure for all ages, even if certain elements feel superficial in the end.

All told, Thirteen Lives is a solid and compelling watch that stands as a testament to people's resilient spirits.

It's an absurd and stunning story, but it also holds such heart and authenticity that it feels deeply relatable.

Where the Crawdads Sing stumbles a bit in its transition from page to screen, though it is aided by a great lead performance.

Led by a great Lesley Manville, Mrs. Harris Goes to Paris is a delightfully wholesome film and the very definition of a "feel good" story.

There are bound to be viewers less familiar with the source material who are enchanted by Persuasion. However, the modern touches are just too persistent to ignore, and they take away something that the movie urgently needed — genuine depth.

While Minions: The Rise of Gru still can't entirely justify itself, it does provide a far more heartfelt and fun outing than its predecessor.

The Good Neighbor struggles with convenient plot points and inconsistent characterization, yet is still a thrilling ride thanks to its menacing lead.