Ross Bonaime

Blue Beetle brings a breath of fresh air to DC with its focus on smaller stakes and family dynamics, standing out just enough from other superhero films.

Beyond the clichés and the added elements to try and boost the drama, Tetris at its core works because the true story is inherently an interesting one, and when the film sticks to these details, it's at its best. Like a difficult game of Tetris, this film might fumble some of its pieces, but in the end, it's ultimately a satisfying experience.

When You Finish Saving the World is often acidic to a point that might scare away some, but at its core, Eisenberg’s film is an endearing story of mother and son who were once so close, and now struggle to get what they need from each other anymore.

It finds just the right combination of nostalgia and fresh blood, telling a story that manages to feel familiar in its winks at the past, but breaking with tradition in ways that are exciting and new for this series. Scream VI might be a sequel to a requel, but this franchise still finds new ways to feel original in its approach to this world.

The Pod Generation ends with a thud, leaving the audience to question what the purpose of this endeavor even was.

Saturday Night is a loving celebration of SNL that captures the spirit of trying to put on a live comedy show every week.

As a film that highlights Raimi’s talents as both a director of distinct superhero stories, and idiosyncratic horror tales, Doctor Strange works. Yet as a larger piece in the ever-expanding Marvel Cinematic Universe, the Multiverse of Madness starts to show the cracks in trying to continually attempt to build and one-up what came before.

Hardiman’s feature debut is ambitious, even if the overall structure doesn’t always work, and the mystery isn’t as engrossing as it maybe should be. Yet, for all its flaws, it makes up for it in style and its wild cast of characters.

Lightyear is still an extremely fun action sci-fi film that is better than most animated films released in a given year, and will bring a smile to fans of this character.

Miller’s modern fairly tale is full of beauty, love, and care, even if the film often focuses on the grand instead of the modest moments.

As those familiar with Chomet's work would expect, A Magnificent Life is an exquisitely animated film to watch, even if the narrative is a bit rote. But it also makes one think that maybe the original concept for this as a documentary of Pagnol’s life could’ve been more effective and illuminating of what made him such a great artist.

Metal Lords ends just when it feels like it’s finding its footing, with its characters taking too much time to address their flaws, leaving the music and the bonds that have been formed via the music, on the back burner for too long.

With Pugh and Garfield leading this tremendous love story, We Live in Time becomes one of the best movie romances in years, and proves that few filmmakers can present the power of love quite like Crowley can.

Fuze has the bones of a great idea, and one that does seem like a great fit for Mackenzie, given his past work. But Hopkins’ script is too generic an action exercise, from its bland plot to its nothing characters, that it’s hard to find anything to truly care about.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

The Drama is a film that will stick in your mind long after you’ve left the theater.

I Love You Dad has its heart in the right place with its cringey narrative and story of how much forgiveness those who love us truly deserve.

Ballerina gets off to a shaky start that almost feels like it misunderstands what has made the John Wick series so much fun for so long. Yet once the absurdity of the action takes hold, and Ana de Armas gets to prove herself as a fitting potential heir to this franchise, Ballerina captures the blunt, chaotic action that this series thrives on.

The Little Mermaid might not match the greatness of the original, but it’s the rare remake that feels worthy of being part of our world.

As it stands, The Roses has its charms, but it could’ve used a few more thorns.

Ready or Not seemed to close the book on Grace's story, but Here I Come effectively shows that there are still potentially chapters to explore in this tale. Did we need a sequel to Ready or Not? Probably not. But hell yeah, it's great that we have one.

While the free-flowing structure of Spin Me Round works in bits and pieces, there’s very little overall purpose to the narrative Baena and Brie have crafted here.

Eternity is a cute rom-com with a great cast, but it could've used more exploration of its afterlife.

As a platform for Sweeney to show her broad talents as an actress, Christy is undoubtedly successful, as she finds the heart and sadness within Christy Martin. But Michôd's film doesn't make that life story quite as riveting as it should be, which is what Martin deserves.

For a director like Howard, whose work can sometimes be a bit too sterile, Eden is a curious experiment in search of a purpose.

Moana 2 explores the possibilities of this universe, and builds on the bond between Moana and Maui, but stays a bit too close to the original's formula.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.