With Phyllis Nagy at the helm, Call Jane had all the potential in the world to be something revolutionary, but it ultimately chose to take the path of least resistance. It leans into a very glossy feel-good “girl power” energy, ensuring that its audience never once feels true discomfort when discussing uncomfortable truths.

Enola Holmes 2 is tightly paced, leaving just enough breathing room for the characters to thrive and do what they do best. It is a film with a lot of moving parts, but not so many that the audience will lose track, and in that way, is a film deserving of a rewatch — or several.

While it takes a while to get there after dancing around its premise, when Run Sweetheart Run hits its stride it is more than worth running along with it.

More often than not, we can ignore the message if we’d like and just enjoy a scary movie. Prey for the Devil, however, seems to have been developed as deliberate propaganda.

The Good Nurse is a shocking drama that seeps under your skin with its ferocity and terror. Yet Lindholm makes this story about a disturbing individual into a film about how important kindness and consideration for others can mean in the larger scheme of things.

An immensely enjoyable treat, The Pez Outlaw is cleverly filmed with the highlight being Glew playing himself and seemingly having the time of his life. With references to Citizen Kane and Charlie and the Chocolate Factory, the whimsy is part of the effortless charm of the doc, and Steve and Kathy bring the heart.

What makes The Stranger work is how this all creates an experience that feels as though the two men have become almost doomed to a life where they will aimlessly wander in what feels like an Australian purgatory. Whether they ever manage to escape and uncover some sort of closure is irrelevant to the growing rot that threatens to consume their souls no matter what they do.

Even if you’re not a fan of the music of Tucker or Carlile, The Return of Tanya Tucker: Featuring Brandi Carlile will have you hoping for the best for both of these incredible musicians.

Rosaline's shows its strengths when it focuses on the parallel story of Rosaline and Dario, but when the narrative crosses paths directly with Shakespeare’s story, Rosaline starts to fall apart, becoming a muddled mess of modern references, unusual characterizations, and ideas that don’t mix as well as they should.

V/H/S/99 still echoes some of the issues most anthologies face, as the rhythm of the movie depends on the pacing of each story. And at a 108 minutes runtime, V/H/S/99 might test the patience of some viewers. Still, this is the best the franchise ever gave us.

War is hell and for a little over two and a half hours, All Quiet on the Western Front displays its ghastly horrors without ever venturing into voyeuristic consumption, opting instead to unsettle its audience with bleak realities and sobering truths.

To see Clooney and Roberts team up again when they have demonstrated in the past (the Oceans movies and Money Monster) that they go together like rum and coke is a lot of fun, but it also makes it undeniably noticeable that they deserve better. I don't mean an Oscar-worthy dramatic biopic. But a rom-com with some nuance and wit.

Black Adam isn’t a full-on course correction for the DCEU, but it is an encouraging new installment in this larger universe. Collet-Serra knows how to present this darkness and antihero in a way that’s effective, while also fleshing out one of the most promising additions to DC’s ever-expanding cadre of characters.

Till will go down as one of the most powerful and important films to hit the screen in 2022, Danielle Deadwyler is unforgettable, and the film has a voice that needs to be heard more. A single movie is not going to stop hate, but that isn't the intent, this is a film that challenges its audience to open their eyes even more to racial injustice.

Even with some questionable choices, Holy Spider still packs a powerful punch, particularly in its third act, and one of the most disturbing final scenes you'll see all year that feels like the perfect summation of the past two hours.

The movie undermines its own message by silencing one of its most important characters and choosing instead to give the spotlight to the ones that bring nothing new to the table.

The problem is The Curse of Bridge Hollow isn’t clever enough to carve out a niche of its own and is defined by the diminishing returns of derivative genre riffs from start to finish.

The final showdown between Laurie and Michael Myers is pretty thrilling, perhaps because we know that this is the last time we will ever see the pair face off (supposedly). Whichever side you land on, whether you are Team Laurie or Team Michael, you won't feel cheated by the conclusion of the film, which makes what preceded it a lot easier to forget about and made the movie, in general, a lot more palatable.

When it embraces an eerie and enigmatic tone that subsequently gets turned on its head, Significant Other still boldly proves to be a film worth getting lost in.

Ultimately, the new Hellraiser isn’t entirely bad. It’s just bland. Forgettable. And in the world of horror films, isn’t that worse than being bad?

Dark Glasses is no Suspiria or Tenebrae, but it’s also no Dracula 3D. It’s a fine movie, and sometimes, that is all you can ask for.

Terrifier 2 is best when it does what we are here to see: big, bloody murder. But the attempt at a story is just atrocious. Terrifier 2 tries to be bigger and better than its predecessor when really, we just wanted more of the same.

Riseborough’s impeccable performance cannot be overstated. Her passion shines consistently whether Leslie has hit her lowest low or is riding her highest high. All of this contributes to the film’s poetic ending, which is sure to leave you teary-eyed and reinvigorated with a new lease on life.

Whatever joy you get in individual moments is lost in the shuffle of a film that far overstays its welcome.

With the options of taking the audience on a fully-fledged bang-bang Western adventure or commenting on the genre’s issues in past decades, Dead For a Dollar chooses to do neither and wastes its stellar cast with drowsy performances which never make you root or fear for any character.

What truly saves this film from its own baffling choices and makes it watchable are the performances. Scott, Piper, and Alwyn all turn in compelling performances, but it is the titular "little bird" that steals the show. As the rebellious, headstrong Catherine, Ramsey is an infectious delight who infuses every scene she's in with an energy that is both comedic and earnest in its bluntness.

Everything in Jeepers Creepers: Reborn is cringe-inducing to the point that even getting to the credits becomes a chore. And the fact the movie is taking itself seriously only makes everything more painful.

Deadstream is more than great found footage; it’s one of the best horror movies of the year, period.

It is a slog of epic proportions that utterly wastes the talents of all involved. Completely lacking in cleverness and without any sense of direction, it is a cinematic drought of entertainment that only has any intrigue in how baffling an artifact it remains. It may not be the worst movie of the year, but it is certainly the most annoying.

Despite its flaws, Mr. Harrigan’s Phone remains a careful adaptation of one of King’s most touching stories to date. And while there are not many frights in this horror movie, it remains a solid entry of Netflix’s enviable collection of King’s adaptations.

If you are looking for a good slasher film, look elsewhere. If you are looking for a fun family-friendly film with a few good monsters, then try Spirit Halloween: The Movie.

My Best Friend’s Exorcism has something for everyone: strong female characters, spooky atmosphere, humor, heart, a bitchin’ 1980s setting. There is a lot to like here, and plenty to enjoy all year round.

It summons the magic of nostalgia with laughs, heart, and music, and perfectly satisfies the heart of audiences trying to rekindle the past.

A familiar underdog story made engaging by the flashes of patience with which it approaches its material, Sanaa Lathan’s On the Come Up doesn’t reinvent the wheel as much as it tries to roll along with it.

At its core, Vesper feels like a dark fairytale, like something born from the haunted tales of Grimms' Fairy Tales.

Even though Sidney takes a fairly elementary look at Poitier’s career, it’s still extraordinary to see the contributions this man had on the world lined up in this way. Poitier left an indelible change on entertainment, the culture, and society at large, and Sidney makes us aware that this world wouldn’t be the same without Poitier.

It is a work of patient yet painful observation that exposes how a community of struggling people can easily turn hateful.

García’s latest film is a predictable, completely fine, but uneventful dramedy that never quite finds a way to dig itself out of mediocrity.

The way the visuals all dance across the screen in flashes of brilliance that strip away the barriers between form and feeling until they become one is nothing short of spectacular.

Smile holds no surprises. No big twists. You know what you are getting going into this movie. It is predictable from the first minute. But it is an enjoyable, scary ride that is well-plotted and acted. You will know how it ends within the first five minutes of the film. But the ride getting there is well worth it.

Ultimately, The Munsters is not a good movie. But it is great fodder to put on in the background of a Halloween party. It is best when used as a visual asset; something you may only want to catch a couple of minutes of dialogue from, but otherwise, it’s best left as background imagery.

The beauty of Decision to Leave is how Chan-wook can set his table with so many ideas, diversions, and elements, all making for an overly exquisite experience. Not only does Chan-wook blend detective mystery and romance, but Decision to Leave is weirdly funny, full of dark humor that fits in perfectly with everything else.

Susie Searches has its heart in the right place, and this could’ve been the beginning of an interesting mystery series of sorts, full of intriguing characters, twists and turns that are hard to see coming—even for Susie. But the mishandling of tone and unusual shifts in logic and character motivations makes this film more of a mystery in itself.

The Swearing Jar is a decent idea, but the screenplay and editing draws attention to itself in a way that takes away from the film’s biggest moments—a shame considering these moments could’ve been extremely effective if handled in a slightly different way.

Return to Seoul is a powerful and quietly staggering work, and one of the most engrossing films of the year.

In a career full of great performances, Swinton continues to do some of her finest work with Hogg, and Hogg once more proves that she’s one of the most remarkable personal storytellers in cinema today.

If you don’t stress over the logistics of time travel and are willing to appreciate the “deeper meanings” that are on full display, then check out this beautifully shot love letter to the messiness of New York City and life itself.

Schrader is able to prune back some of his more established impulses to service this particular story.

Even with its many narrative flaws, The Silent Twins gives us an insight into not just the lives of the two sisters but the way they made sense of it through stories of their own.

If you’re looking for a typical teen movie riddled with clichés and stereotypes, keep scrolling through your Netflix queue. This daring dark comedy both pays homage to and deconstructs the ‘90s high school set films you know and love, and does so with deliciously satisfying results.

It is by no means a perfectly constructed work, but there is something more immense in its thematic aspiration that provides plenty for Pugh to play around with. All that makes it unwieldy also makes The Wonder mesmerizing so that, even when the spell is broken, you can’t shake it from your mind.

It’s exploitative and empathetic. That’s why it feels like it spits you out in an alley to pick yourself back up. Blonde is an alienating movie. To me, that makes it a disarming and effective experience.

It is still a well-made film, with fantastic acting and a beautiful, modern house set out in the middle of nowhere, but it is not the shocker that it was when it was new. Knowing the twist, and the minor changes that were made for an American audience really soften the movie. If you enjoyed the original, the American remake would be perfect fodder for your parents.

Empire of Light ultimately becomes a confusing mixture of ideas that never congeal into one solid narrative. Yet Mendes’ film does have the tiniest slivers of magic poking through the seams, proving his thesis about the beauty of film, even when he’s too distracted to focus on that idea himself.

Like the relationship between Lynsey and James, Causeway is a film that slowly grows on you, a film that puts on a tough front—with its devastated characters and desire for escape—yet at its center is a tremendous about of heart, love, with its found families and shared pain.

When it all comes together it proves to be yet another poetic and patient cinematic reflection on the families we build for ourselves from one of the best observers of humanity to ever do it.

When it all comes together, Wendell & Wild ends up feeling liberating, both artistically and thematically, with top work from all involved.

With its strong character work that gets interwoven with a striking story of sabotage, How to Blow Up a Pipeline is a riveting tapestry of the plight facing the modern climate justice movement.

It is a character study that creeps up on you, deploying well-timed darker comedic moments that set up the cutting dramatic ones all the better. There is no pretentiousness or ego to either of the stunning performances, ensuring we are hit with the maximum impact of a maniacal masterclass of acting from Abbott and Qualley.

Morgen manages to encapsulate that intimate relationship between artist and audience with Moonage Daydream, using only disparate pieces of footage and some clever illustration to nail exactly what it’s like to adore David Bowie.

Confess, Fletch is decent—not quite a great mystery, not an excellent comedy, but fully enjoyable for what it is. A major part of that is Hamm’s ability to play up his charms, while also showing his gifts as a comedic actor.

For all the anticipation about this being a star turn for Styles, the lack of depth in his performance and of the film itself ensures it won’t leave nearly the impression it set out to.

It’s so much fun to watch Johnson in this mode, especially with a cast this relentlessly fun and playful. With Glass Onion, Johnson proves himself to be a film disruptor of the highest order.

For all the promise of its main cast and sturdy thriller premise, The Menu is a work that seems destined to slip from your mind.

Spielberg has given us all so much magic over the course of our lives, and The Fabelmans becomes yet another Spielberg masterpiece, but this time, by showing us how this magic came to be in his own life.

Seydoux brings both parts of this story together with grace and charm, and an honesty that makes this one of her best performances so far. Hansen-Løve’s story is deceptively light, yet packs an emotional wallop as it explores the impact that love—and our separation from such love—can have on a person.

The Woman King is a film that has the confidence to be completely sincere in both the sharp moments of humor and the stunning battle sequences. The way it all grapples with history is subsequently clear-eyed, making some closing statements feel especially resonant. It is a film that ensures there is no denying Prince-Bythewood's dedication as a director and visual artist who can take on any cinematic challenge with ease.

Eichner and Stoller have written a film that plays to both of their strengths as storytellers, all while making one of the funniest and most romantic films of 2022.

Östlund's comedy of inequality and broken class structures might be a bit too blunt at times, slightly too long, and is often best when at its simplest, but Triangle of Sadness is too fun and ridiculous to not enjoy, and compared to The Square, is a step-up in Östlund's criticism of the bourgeoisie.

Weird might not be the best biopic parody (Walk Hard still holds that crown), but it is an absolutely charming and often hilarious look at the world’s greatest parody musician, packed with an excellent cast that wants to pay tribute to this weird man. Weird dares to be stupid and succeeds because of it.

In Clerks III, Smith returns to where his career began and has made one of his best films in decades, a tender and compassionate look at friendships that last no matter what, a remembrance of where Smith came from, and an appreciation for all those who helped him along the way.

If the 1940 Pinocchio showed that any wish your heart desires could come true, this remake shows what happens when your nightmares come to life.

It is an experience built around surprise revelations and plunging into the unknown. What is found there is not nearly as impactful as the actual journey itself, making for a mixed bag of horror and humor that rises above its lesser parts enough to hold together.

All in all, See How They Run is a derivative amalgamation of too much tribute and too little originality. Don’t get me wrong, it’s fun and the perfect film to bring your Nana to, but it's ultimately pretty forgettable.

Don’t Worry Darling is best as a surface-level matinée thriller with a few follow-up ahas. But it doesn’t sting like it should in the end.

It is inorganic, gimmicky, manipulative, and its lessons are simplistic.

Like the sparse land of its setting, Inisherin is a film that reveals multitudes through observation and reflection. While I’m writing mostly of its emotional seriousness, it is also compassionate and humorous.

Vampire movies, which often incorporate a love story, are usually driven by the threat of discovery. The absence of that in Bones and All, despite leaving evidence all over the Great Plains, makes it a beautiful-looking movie that becomes too devoted to repeating the same note. There is no “all,” just bones.

It is a thriller that frequently flirts with becoming an out-and-out horror film only to never quite arrive there. The result is a middling work that is occasionally interesting, as we see how it attempts to strike a balance between these two distinct ideas. Regrettably, it ultimately can’t hold itself together when it counts.

Iñárritu has always been heavy-handed but his attempt to be airier creates more areas to bloat. And it gets incredibly unwieldy at points.

While it is undeniably a character study with both the actors at the very top of their game, the story itself is perfectly suited for them to shine.

The remarkable details in how information is revealed entirely through a central performance is the reason TÁR excites. Not what it has to say, but how it tells us the story through a dual execution of performance and writing preparation.

Satire is one of the trickiest things to translate from page to screen and White Noise never really cuts as deep as it should because the communication of the jokes is so rushed — via DeLillo’s style that’s quicker to process on the page than it is to export to the screen.

Funny Pages is a beguiling debut, but it’s also one of the most compelling and unique takes on the coming-of-age genre in years.

The movie doesn’t stand out for its action scenes, has nothing new to say about the old good-versus-evil conflict at the center of any superhero story, and is incapable of giving its villains real purpose. Stallone is a strong man, but even he cannot carry the weight of an entire movie alone.

Its dialogue is constructed in a way that would sound unnatural even in a daytime soap opera, and Kruger works her best to save it, but there’s only so much she can do. The story is so poorly developed it feels like an outline of a script, all in favor of a final plot twist that would be jaw-dropping…in the 1930s.

The Invitation offers an inventive reimagining of a literary classic while asserting itself as a fun addition to the modern Gothic canon.

Me Time just goes through the motions of a wacky comedy without any of the actually funny components.

While he isn’t an unstoppable hitman, the cold capitalist Julio Blanco rivals the most ruthless and calculating characters Bardem has ever portrayed. Even when the film can’t match his strong performance, he still elevates everything with overwhelming ease.

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.

Breaking is a powerful film that will leave audiences reeling as the credits roll. Corbin and Armah neatly adapted a tragic reality and presented it with grace and understanding, which will hopefully force audiences to think about the reality they live in.

Dragon Ball Super: Super Hero is a fun movie that knows how to use its humor and has fun with the fights, but it’s very conscious that you need to care about those characters to enjoy the ride. Dragon Ball Super: Super Hero isn’t afraid to let go of brainless action in favor of developing its own plot and spending quiet time with some fan favorites.

Beast has its flaws and is mostly by-the-numbers, but if the idea of Idris Elba fighting a lion is something that is of interest to you, then Beast is going to deliver.

Contrary to modern fairy tales, Squeal doesn’t have a clear moral lesson, giving the viewer the hard work of reaching their own conclusions. That’s part of what makes Squeal so enticing, as the film allows multiple readings about vile work structures, the possibility of being happy in an abusive relationship, animal abuse, and even the meaning of freedom itself.

There is a good film in The Harbinger that we catch glimpses of in moments of horror and the conversations we do get to see play out. It just is struggling to break through the uncertain confines of the story it is trapped in.

There is a good film in here that could be made more present if the story itself was punched up as much as the enemies are. This is unfortunate as every dynamic moment of deadly destruction is undercut by ones that are ultimately uneventful.

It is a dynamic, deadly work of filmmaking that achieves all its lofty ambitions and then some to become an absolute masterwork.

It is a work that is so caught up in the noise that it drowns out the moments of the profound silence that could have spoken to something more.