Reuben Baron

Entertaining yet depressing, surreal yet too real, frustrating yet somehow cathartic, "I Saw the TV Glow" leaves such a strong impression that it's hard to stop thinking about it days after seeing it.

Deeply hopeful, spectacularly produced, and equally adept at laughter and tears, Project Hail Mary is the best new movie to hit theaters so far this year.

As an introduction to the rebooted DC Universe, "Superman" is zippy blockbuster fun. But amidst all its cartoon absurdity, it might just inspire people to make a difference in this universe.

The only thing holding Heretic back from instant classic status is its final act, where some of the big secret reveals end up a bit disappointing after so much great build-up.

Beyond just being clever and unexpected, there's something quietly powerful to this story of truth-seekers in a post-truth world.

Despite my questions and quibbles, I'm still happy this sequel exists, even if it falls short of masterpiece status.

Though its long string of wacky plot points might sound convoluted on paper, one shouldn't worry too much about it. The craziest details are mostly there for laughs, and the thematic and emotional through-lines that actually matter remain clear throughout.

Bring Her Back genuinely disturbed me. You can decide whether that's reason to see it as soon as possible or reason to stay far away.

This is a surprisingly sad movie — just one that also happens to be funny.

Furiosa: A Mad Max Saga is a good movie that has either the fortune or the misfortune of existing as a prequel to a nearly perfect movie.

Doing double duty as both a romcom and a twisted body horror movie is a tonal challenge that "Together" pulls off successfully, in large part thanks to how fun it is.

Taken on its own terms, Frankenstein is a compelling, at times moving, and utterly gorgeous epic. As a fan of both Del Toro and Shelley, I can't help but nitpick the details.

There was no chance of "The War of the Rohirrim" recapturing the magic of the Peter Jackson "Lord of the Rings" trilogy. But Hèra's defiance in the face of the despair her enemies want her to feel has something of the trilogy's inspirational quality.

On Swift Horses finally achieves the emotional resonance it's been aiming for just a few minutes before the credits.

Much of Materialists is almost aggressively unromantic, and while it's not without laughs, those are also darker and more uncomfortable than you'd expect.

The final result of "Wicked: For Good" falls between the best and worst case scenarios: some big worthwhile changes and additions show a smart adaptational instinct, but it's still less entertaining than "Part 1," marred by inconsistent plotting, lackluster humor, and fewer exceptional musical numbers. It's good enough, but I could be happier.

I laughed at more jokes than I expected to in The Super Mario Galaxy Movie.

As a whole, "Day One" is different enough from its predecessors while meeting similarly high marks of filmmaking craft, resulting in a solid piece of popcorn filmmaking.

Adams' great performance aside, Nightbitch is just a good but not great movie — and oddly enough, its biggest obstacle to greatness might be that it's not quite weird enough.

Good Luck, Have Fun, Don't Die is both a battle cry and a bleak joke about how unregulated technological progress could destroy civilization and break our souls ... if it hasn't already.

The power of Fiennes' and Binoche's performances, as well as the strength of the classic tale itself, allow "The Return" to build into something both entertaining and meaningful in its final act.

Not a great movie, but "horror-comedy where unicorns kill rich people" is the sort of high concept that guarantees some level of entertainment, and excellent casting helps compensate for its weaknesses on the screenplay level.

The lack of character development blunts any potential for the deeper emotional impact found in the best war movies. The lack of political contextualization further limits how much the film is really capable of saying.

Wolf Man delivers some impressive moments of slow-burn body horror but falls short compared to the narrative and thematic cohesion of its predecessor.

It's intelligent without being profound, amusing without being hilarious, empathetic without being gut-wrenching. "Cute" is the word I'd use to describe it overall. By nature it's nothing special, but it's not bad either.

Eden will attract interest for its strong ensemble and for its intriguingly dark true story. It's an entertaining enough way to pass two hours, but it's also not a film I expect people will be thinking about long after they see it.

The cinematography is gorgeous, and the audacity of the twists can be darkly funny. But thinking about "Cuckoo" afterwards, I feel like I'm missing the key to making sense of and really connecting with it.

Whatever happened in bringing this story to the big screen, 100 Nights of Hero starts off enjoyable enough in the moment, but by the time it ends, it's easy to feel underwhelmed.