Rafael Motamayor

The Spine of Night serves as an entertaining, action-heavy, gnarly throwback to the hyper-violent, high-fantasy rotoscoped animation of the 1980s that nevertheless suffers from a small production, muddled voice directing, and the usual problems of the animation technique.

The film works like gangbusters, and it’s a terrific vehicle for Cage, but not for the reasons people might expect.

Death of a Unicorn delivers on its biggest promise — a gnarly, funny creature feature with a fantastic ensemble, and all the unicorn-themed gore you can imagine.

Elvis is the Baz Luhrmanniest film Baz Luhrmann has made yet, a compilation of his greatest filmmaking hits, all employed for a film as excessive and grandiose as Elvis himself. Though the framing device doesn't always work, Austin Butler's stunning performance, lavish production design, and comic book-like editing make for a movie not unlike one of Elvis' own — full of personality, kind of empty, but undeniably enjoyable.

Antlers is a satisfying, unsettling, and rather bleak horror movie when it focuses on its main creature. It’s also a thought-provoking character drama when it deals with parental neglect, but the two never properly mix, keeping it from being as great as it could’ve been.

Cartoon Saloon's latest animated film may disappoint those waiting for a new movie with the level of brilliance of Wolfwalkers or The Breadwinner, but My Father's Dragon still entertains with its tale of friendship aided by two great performances.

When the plot gets going and we're on a road trip through fantastical locations, the movie becomes a fun ride. It's not as good as the original, but it is still one of the better superhero films of the year.

Tom McCarthy gives us a film that serves for a fun family movie night, complete with important lessons, deadpan humor, and, well, a polar bear.

Armageddon Time suffers from an overly long runtime and from hitting the audience in the head with its commentary, but at a time when nostalgia reigns supreme in filmmaking, this is a rare and very welcome interrogation of the past.

Vivo's animated musical sequences are gorgeous to look at and fun to listen to, even if the plot loses the rhythm about halfway through.

Does The Man Who Killed Don Quixote live up to the anticipation built by a nearly 30 year-long wait? Probably not. Is it still a film worth seeing, with something to say about following your dreams and being a filmmaker, with meta commentary about its own production? It’s hard not to say yes, if only to witness a man’s decades-long obsession finally bear fruit.

Halloween Kills suffers from being the second chapter in a trilogy, but it still delivers gory fun, fantastic performances, and an electrifying score from John Carpenter. There are enough callbacks to the original film to satisfy Carpenter fans while also expanding the mythology around Michael Myers and the town of Haddonfield in meaningful ways.

Featuring great performances from its two incredibly bearded leading men, and bosting a twist that offers something truly unique to the true crime genre, The Stranger takes loose inspiration from a true story to deliver a bleak yet subdued thriller. Sadly, the film banks everything on this reveal, which recontextualizes everything that came before but deflates all the tension.

This may not be the epic "Power Rangers" reunion some fans may have hoped for, but Mighty Morphin Power Rangers: Once & Always is very much the love letter to the last 30 years of this franchise, where it all began, and where it is going.

With stronger visuals than X, a phenomenal and ambitious performance from Mia Goth, but also an emptier and more meandering plot, Pearl loses the fun parts of Ti West’s pastiche. At the same time, it still delivers plenty of thrills and killer moments. It’s both a vividly painted nightmare and a showcase for its star.

Maestro may present exhilarating moments of musical performances, but unlike the story's subject, it is a rather forgettable experience. Still, Cooper continues to show promise as a director, even if the script he co-wrote with Josh Singer is not up to par.

This is not as surprising or innovative as director Park's earlier work, but it is still a fascinating and exquisitely directed film about desire, regret, and love. The final moments will likely be talked about and discussed as much as any of his other work.

The ending doesn’t land, but there’s no denying the hilarious, poignant two-thirds that precede it.

Chainsaw Man – The Movie: Reze Arc has some issues and it sacrifices some of the first season's experimental approach, but it compensates with a compelling romance and one of the best soundtracks of the year.

Sadly, as creative as The Silent Twins is, and as much homework as the filmmakers clearly did in replicating the details of the story and the works of the twins, the film never fully says anything meaningful. Not about the real Gibbons sisters, not about race, not about mental health and its treatment in the U.K.

Flamin' Hot is a charming and funny rags-to-riches story with a strong cast, some clever editing, and good use of narration as comedy that make up for its superficial depth.

Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe delivers an emotionally satisfying movie… as long as you do the required homework for it.

James Cameron's "Avatar" is often criticized for its derivative story, but it works because its simplicity makes it universal. The Creator forgets that second part and just goes for simple and derivative. Still, watching Edwards pull his "A New Hope" is entertaining, and proof that we can still have stunning-looking works of original sci-fi.

Trollhunters: Rise of the Titans delivers an emotional and action-packed conclusion to the Tales of Arcadia saga, although the movie format doesn't give its large cast the chance to shine.

Cryptozoo may be overstuffed with ideas, but its central dilemma is a fascinating and poignant message that carries a dazzling animated adventure.

In the end, the movie is about a delusional guy who doesn't realize he's been indoctrinated, but it is also an emotional exploration of loyalty, camaraderie, and stubbornness.

Under the Silver Lake never finds a reason for being as weird as it is, making for a confusing and frustrating experience despite its hypnotic visuals and great score.

Minions: The Rise of Gru will not usher in a new era of animation, nor change the way we treat prequels. What it will do is entertain kids with more Minions shenanigans, a fair number of fart jokes, and references to other characters in the franchise.