Tara Bennett

On the whole, Man on the Run is a visually and technically creative documentary that successfully contextualizes McCartney’s decade of metamorphosis as a person and musician via his second band, Wings.

Midwinter Break is most interested in the realities of long-term relationships—with unfaced trauma and graceful forgiveness alike—more than concrete absolutes, which is what makes it a valuable meditation on the imperfection of marriage.

For those looking to delve into more philosophical horror, We Bury The Dead is a thoughtful trek into the unknown.

The fourth theatrical feature film in the SpongeBob SquarePants oeuvre—The SpongeBob Movie: Search For SquarePants—doesn’t give audiences a memorable outing, much less a best day ever. It’s a big downgrade, and a huge disappointment for long-time fans of the subversive and unapologetically silly character.

Much like its locale, Dead Of Winter is a sparse but engrossing thriller, one that excels because of the nuanced work of its cast and Kirk’s focus on Barb’s grief amid the chaos.

Although the premise teeters on being twee, A Big Bold Beautiful Journey mostly works because its self-awareness keeps it from devolving into cliche … until it doesn’t.

It’s not hard to understand why global audiences turned out in droves to see Ne Zha 2. Its boundlessly creative visuals, rich character design, all-enveloping sound, and imaginative scenarios are truly original. But that sensory onslaught—those endless fights with their own progressive stakes—comes at the expense of focus, character, and story.

It’s not often that a rom com/dramedy works so hard to not be the very thing it purports to be until it feels earned. But Song labors with purpose, executing skilled character work and intimate, honest conversations to earn her swoon-worthy Materialists climax and resolution.

Sinners is a vampire story with something to say about America’s unresolved sins and reinforces that Coogler is one of his generation’s best filmmakers, mining something fresh from every genre he tackles.

Although Morales is an improv queen, the overriding gravitas of Hausmann-Stokes’ direction makes most of the intended comedy wither and land with a dull thud. However, there are some solid performances from the whole cast, and the opportunity to platform this topic is a plus, and in some cases, likely vital to veterans who will watch it.

The Piano Lesson is an adaptation, and a directorial debut that absolutely has me excited for what he attempts next.

It’s the palpable, playful chemistry between Emmanuel and Sy that finally gives this version of The Killer a reason to exist. Their rapport is a little bit sexy, witty and plenty world-weary. Every time they reunite, the film crackles back to life.

Blink Twice confirms that director Zoë Kravitz has an artful eye and ear: Her debut feature is full of creative compositions, heightened sound design, and clever editing. However, where she excels in creating atmosphere and mood, she falls very short as a screenwriter.

Saving Bikini Bottom: The Sandy Cheeks Movie is a visually clever, character-redefining film for the strongest of animated smart gals, Sandy Cheeks.

When King and Efron are grooving to their boss/assistant bickering beat, Affair is the most believable and entertaining. As for the rest, it’s been done better and with more depth in a zillion other films.

As a newsroom drama, Scoop succeeds with its taut presentation of the negotiations and the egos at play when executing an interview of this caliber.

Ghostbusters: Frozen Empire doubles down, fully committing to its existence as a cynical nostalgia raid masquerading as a movie.

As a fantasy, Damsel convincingly transports us into the lair of a dragon that is often stunning and always intriguing.

Orion and the Dark is the most Kaufman-esque children’s movie you could possibly imagine, replete with oodles of existential anxiety, a metafiction narrative and a surprisingly emotional payoff.

While Hale and Wolff have separately done strong work in prior romance films, including Hale and Hutchings’ prior winner, The Hating Game, they can’t spark any sizzle here.

Mean Girls is a winning, entertaining reworking of Tina Fey’s 2004 comedy. Featuring a collection of strong original songs and a successful updating of the story and messages, it's a musical reimagining worth watching.

Samuel’s The Book Clarence is a grab bag of ideas and genres that sometimes hit their mark, but in general don’t land a believable arc for the title character.

Even with its last act problems, The Hunger Games: The Ballad of Songbirds and Snakes is an effective return to the cautionary tale that is Panem.

While the first third establishes the premise with a lot of promise and a compelling backstory, the rest of the film can’t rise above perfunctory cat-and-mouse dynamics that lack urgency and emotional stakes.

What Happens Later is probably the most rewarding time spent stranded at an airport—literally or figuratively—that we’ll ever experience.

Mostly, Five Nights at Freddy’s relies on a lot of jump scares, and scenes with building tension that result in cat-and-mouse scenarios, which are perfect for the age range it’s playing to.

Perhaps what was once haunting and unsettling on the book page has not, in more overt staging, translated well to the screen.

What Dumb Money does very well is show that the GameStop stock story is more than just a meme for our times, but a first stone in the pond with a ripple effect that’s still a work in progress.