Samantha Bergeson

The Line is a must-see for a peek behind the coke-filled sheets of fraternities, well, everywhere.

I Love You Forever unfolds like a documentary to those who have lived a similar experience — and a stalker horror movie to others.

It’s right there in the title: Claire Simon’s stunningly personal documentary “Our Body” might generally be about her own health journey, but it’s really fixated on the communal experience of occupying a female body. Our body.

Leguizamo may give one of his career-best performances in the feature, but it’s Ferreira’s surprising command onscreen that is the most memorable.

Mendes’ likability (and relatability) almost mirrors Amanda Bynes’ Hollywood reign during the “She’s the Man” and “Sydney White” days. Upgraded is essentially “What a Girl Wants” meets “Devil Wears Prada” with a dash of “Emily in Paris” camp. The combo makes it one of the easiest rom-coms to digest as of late.

Director Perrier (“Jezebel,” “Unprisoned”) has helmed a standout rom-com, bolstered by Union’s vision as a producer and lead star. The perfect find for those seeking a smart, sexy rom-com respite? Pretty close.

Scrambled will make you text your ex — or former Hinge hookup with a “hey stranger” — but in the end, you’ll feel confident knowing your best self is still just dancing on your own. Here’s to that.

If this was the last romantic comedy of 2023, it’d already have been a great year for rom-coms.

Playwright and frequent Shannon collaborator Neveu adapted his own play for the screen, and Shannon’s sensitive direction makes Eric LaRue a haunting, standout film with a career-best performance from Greer.

The ’80s-esque sensibilities and sweet quips, rivaled only by fellow Netflix film “To All the Boys I’ve Loved,” make “YASNITMBM” an easily watchable treat for the entire family. Cohen, who previously directed the Hulu feature “Crush,” and once again proves her bonafides when it comes to translating the pains and pleasures of coming of age to the screen.

There is no hero or villain, only a murky undercurrent questioning whether having a muse is inherently predatory or not. And that story is worth writing.

With A Family Affair, Efron picks up where “17 Again” left off, and it’s a delight to see this former teen heartthrob back in a similar mode.

As delightful as Levi and Rodriguez prove to be together, “Armageddon” thoroughly belongs to fresh faces Esterson and Carganilla, taking over for Daryl Sabara and Alexa PenaVega. The kids’ respective performances feel relatable, authentic, and above all, fun.

A Tourist’s Guide to Love is a road map for how to love adventure abroad, with dashes of Vietnamese trivia and spiritual facts along the way.

Somebody I Used to Know doesn’t chalk up a failed relationship to circumstance or even bad choices. It’s simply the respectful endurance of love even though that person may not be “the one.”

The stifled quietness of “Strangler” leaves us wanting more, for better or for worse.

King can’t really play a teen anymore, and the message of non-conformity feels stale, in the YA adaptation space and beyond. This trend, much like shifting beauty standards, is already on the way out.

The whole Brit falls for an American trope has been done to death, and Love at First Sight doesn’t bring anything new to the genre. While Richardson turns in the best performance of the film, even that’s not enough to push Love at First Sight to higher rom-com heights.

It is a fun time, just one that doesn’t need so many versions packed into it.

Watching Cho, perhaps on the same search as the filmmakers — for profundity, for catharsis — is always an entertaining experience, and a reminder of her curiosity as an actor more than the sum of her stand-up parts.

Simply put, Cox is the saving grace of his latest feature, Prisoner’s Daughter, a predictable family drama that has heart thanks to grounding performances by Cox, Ernie Hudson, and breakout child star Christopher Convery. The rest, however, leaves a lot to be desired.

The Fabulous Four might feel like a series of math problems that don’t quite add up, but it’s still an enjoyable time at the movies — especially if you choose to gobble down gummies at the same rate as the “geriatric” cast of Jocelyn Moorhouse’s raucous comedy.

Murder Mystery 2 is the perfect background noise that Netflix has built an empire out of.

The “aw shucks” small town vibe of it all, complete with Hamm being seen as the most eligible bachelor around, eventually codes Maggie Moore(s) as more of a rom-com than a murder mystery. But weighed down with a cliched script and tired acting, the film doesn’t fully land either genre seamlessly.

There are sparks of chemistry between Ryan and Duchovny that feel reminiscent of better rom-coms, although none quite matching the films that Ryan is most known for.

The film also boasts unexpectedly great voice acting; it’s not an exaggeration to say that Oscar winner Foxx thrives as the voice of Bug.

While the film fumbles through a stripped down script and stumbles towards a surrealist attempt at reframing the threats of tourism, Waikiki still offers a voice from a Native Hawaiian about his homeland.

If you’re a die-hard James fan, and have a high tolerance for self-congratulatory films, Shooting Stars might be worth the almost two hours of your time.