Bird ultimately reads as Arnold “playing the hits” with a narrative she fundamentally knows how to stage in her sleep. Ultimately it feels too familiar, even with the welcome magical realism additions and a hallucinogenic slime secreting toad. Arnold fans will no doubt find plenty to latch onto with Bird, but it’s unlikely to convert non-believers.

If you don’t like horror movies, then don’t go see this movie. This isn’t for you! This is for the Final Destination fans who’ve waited patiently for over a decade. It’s also for those who enjoy a ride of a movie that will raise and drop your heart rate multiple times over an hour and 47 minutes. With horror franchises constantly coming back from the dead, Bloodlines is one of the freshest we’ve seen in a while. It’s the perfect blend of going back to basics and cooking up something new, drenched in blood and snapping bones.

The final scene all the way up to the last line hits like a truck. It leaves wreckage in its wake as the psychological and emotional scars linger for us as an audience just as they do for its central character caught in the grasp of a cruel world.

Bold, effective, and brilliant in equal measure, Moll’s film is a fine policier in the grandest of traditions, joining a long line of noir-inflected French police dramas unafraid of being more than vehicles for action and retribution.

While Unicorn Wars' rhythm can be uneven, the movie is still a brilliant anti-war story elevated by Vazquez’s mesmerizing art direction.

The Iron Claw succumbs to the powerful blows of biopic movie standards, there’s no denying it. But its most insightful qualities rooted in the dissonance between the persona of the Von Erichs and their psychological struggles ensure it scores plenty of cinematic KO’s.

As the film becomes about the conflict between a handful of key characters, it takes on the machinations and trappings of a psychological thriller surrounding a mystery of sorts that we already know the answer to.

If Cheech & Chong's Last Movie is actually their last movie (a plausible hypothesis given that their last live-action feature together was back in 1984), it's a great curtain call. It's a breezy, engaging, but still informative look at the duo and their falling out, and it ends on a note that's surely welcome for fans of their comedic oeuvre.

A good thriller will ramp up the anxiety with each step as it hurtles towards its conclusion, and Fair Play does not let up until the very end, offering a twisted and toxic tale of a couple driven to the brink by a shift in power dynamics.

What is undeniable is its sense of vision, a fully realized work that marks Colbert as a director to watch in absolutely anything she takes on next.

Even as there are some moments where it can fall into feeling like a greatest hits recap of the group that dances along the surface of the story, the more complicated reflections it offers on their lives and music cuts quite a bit deeper when it counts.

Inside Out 2 takes complex ideas and emotions and turns them into a delightful animated adventure, and one of Pixar's best films in years.

Yes, it’s a crowd-pleasing romantic comedy thriller, but first and foremost, it’s one big-hearted ode to the artists responsible for movie magic.

Creed III honors the past while looking forward to the future, and gives Jordan—both the actor and the director—the spotlight in a way that shows his immense talents.

Wicked defies gravity for a soaring, beautifully sung return to Oz with wonderful vibrancy and a true sense of scale.

I Wish You All The Best is a triumph on everybody's part.

Despite beautiful shots and strong performances in the film, what ultimately comes up lacking is the story.

Even though it is a fairly straightforward, surface-level doc at times, A Disturbance in the Force is a worthwhile look at accepting the flaws of the past, the media of the 1970s, and a period when the biggest franchise in the world could do some weird-ass shit that would still (mostly) be embraced by the fans.

Affleck makes Air look easy, a director who knows exactly what he’s doing, and knows how to build anticipation, work our excitement, and tell a story about a shoe that is truly enthralling and gripping.

With a flair for the surreal and fantastical, it’s easy to see how Fuller’s feature debut could become a cult favorite just like his shows have.

Lucy and Desi isn’t breaking the mold in terms of biographical documentaries, but when put together in this package, the story of Ball and Arnaz has an impressive weight beyond just a collection of compelling anecdotes.

Hoppers is an absolute delight, setting the bar high for animated films this year, while creating a film that reminds us just how amazing Pixar still is at making new, exciting worlds and stories, without relying on sequels.

Emergency is ambitious and daring in what it’s trying to say and do, but a mishandling of pacing, serious issues, and pseudo-parody hurt what is a truly intriguing concept.

I Love Boosters is full of major swings and plenty of individual concepts that could take up an entire film, yet Riley balances everything this movie is trying to do quite well.

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.

With bold narrative choices enhanced by immersive cinematography and confident direction anchored by powerful breakthrough performances, Molly Manners’ directorial debut is a compelling showcase of emerging talent.

It is not only one of the best animated films of the year, but it's one of DreamWorks' best, and one that will strike a chord with moviegoers of all ages. It's equal parts exciting and hilarious as well as earnest, it never feels like it is talking down to anyone.

The Bibi Files may not be the poison pill that knocks the Netanyahus from power the way that those on screen may be calling for, but it’s still a powerful presentation of the facts without ever devolving into being a mere polemic.

If The Killer teaches us anything, it’s that any director, no matter how legendary they are, can fall victim to a bad script. While Fincher’s iconic style permeates the two-hour runtime, the hollow plot and uninspired writing are impossible to ignore.

In the end, Splitsville is a lot of stupid fun told smartly, unafraid to lean into the salacious while still somehow maintaining an emotional groundedness.

Folktales' earnest, sensitive approach is its superpower, showcasing universal challenges being processed in a specific and singular way.

When Jones and McNairy are playing off each other, Fairyland really finds the beauty of this story. Especially in the third act, as this relationship becomes more difficult and uncertain, both present themselves as people who struggle with the balance of doing what's right for themselves and doing what's right for each other.

From the gorgeous cinematography by Erik Messerschmidt, the mesmerizing Daniel Pemberton score, a towering performance by Cruz, and Martin’s screenplay that reflects as much on Enzo’s insular battles as well as his public ones in equal measure, Ferrari is one of Mann’s best film in years.

Leonberg shows so much promise, ultimately delivering a horror movie that not only has the scares but also a massive heart. However, it does also help that the movie is centered around a cute dog.

While it is important for the film to immerse itself in the emotional struggles of the scenes, it also is hindered by some occasionally abrupt edits and anarchic writing that dulls the sharpness of its story.

Figgis’ Megadoc is an engrossing look at one of the biggest pet projects of all time, a film that lived in Coppola’s brain for so long and struggled to come to life on the screen effectively. Megadoc shows that while it's great to bring your passion to life, sometimes, it wasn't meant to be.

Moving, emotional, and ultimately cathartic, Renoir is a quiet and stirring coming-of-age story that reminds us of our own childhood and the impactful time that can be.

The Inspection proves to be a rich work of personal introspection crossed with a wiser slice of life portrait of an era that can only come when looking back.

The Devil's Bath is as bleak and hopeless as it gets, but if you give it a chance, it will change you.

It's a colorful and delightful movie that delivers both thrills and heart. A fantastic follow-up to the original, Zootopia 2 swoops in right at the perfect time for the holidays as a perfect family movie to enjoy.

One of Them Days might not necessarily be a great comedy, but it’s absolutely the type of comedy we should see more of in theaters nowadays. Palmer and SZA are a delight, and Lamont and Singleton’s work elevates what could be just a silly comedy into something more.

A true dramedy, it’s as raw and painful as it is refreshing and cathartic. Though nothing is tied up in a neat little bow at the end, you’re left with an undeniable feeling of hopefulness. You’re sure to laugh, and there’s a good chance you’ll shed a few tears, too.

While Ma’s script can feel broader than one might like when it comes to the core dynamic between Sara and Sumi, it thrives as a love story and character study and offers enough heartwarming moments of humor to make it well worth your while.

A descent into darkness that will swallow you whole, In My Mother’s Skin is a beautiful and brutal work of historical horror with visuals that will echo through your mind.

Fire Island is a strong update to Austen, full of charm, heart, and friendship, yet Booster's screenplay works best when it is not relying on the source material and having fun with this fun concept. With an excellent cast and a perfect blending of Ahn and Booster's talents, Fire Island is an extremely enjoyable trip.

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.

The 2022 Matilda takes the narrative and world of a child and puts it on an adult’s terms. It completely misunderstands why so many children around the world adore these stories - because they were written for them and not their parents. Stick to the original 1996 movie folks, don’t be the boring witch.

What Lowe accomplished in only her second full-length feature in roughly eight years shows such promise as a daring filmmaker with an original voice that deserves a megaphone, and I can only hope it doesn't take eight more to see what comes next.

Berg’s documentary is at its strongest when it focuses on the musical legacy that Buckley was so concerned about that he would leave behind, and less so when it tries to delve deeper into who Buckley was as a person.

There is much about it that remains imperfect, especially in terms of some of the broad character beats that it begins with, but it proves to be proper fun once it gets going.

Jalali creates a unique dramedy that will be remembered for its solid direction, powerful performances, and eye-popping cinematography.

Unable to make his ideal documentary about the Zodiac Killer due to a rights issue, Shackleton breaks down the movie he might have made in painful detail that reveals a shocking lack of self-awareness, systematically dismantling the genre without an ounce of introspection.

It's considerably elevated by strong performances and some excellent directorial and cinematographic choices, but it ultimately is undone by details and narrative pivots that don't work.

If you’re willing to take the plunge, it’s a haunting experience. Whether you come up for air or retreat back into the woods, well, that’s another thing entirely.

Though it works better in its individual moments, there is still something stunning about how it will frequently submerge us in a more subtle and sinister sense of looming dread that soon becomes emotionally shattering.

Friendship truly has all the makings of a future comedy classic.

Poulter's acting keeps it afloat ultimately, but there are moments when the desire to focus on the recovery journey overshadows the actual story at the heart of the film. Ultimately, Union County is a respectable debut for Meeks, but in trying to do too much, it fails to land on solid ground by the time the film is over.

There is no other horror film you’ll see this year as incessantly cruel and mean-spirited as The Coffee Table. This is both a compliment and a criticism, as, while the film is plenty committed to twisting the knife into its audience, it can also be rather repetitive before rushing to the finish.

M3GAN might just become the Malignant of 2023. It doesn’t have a twist, but it is a weird, bonkers movie. Director Gerard Johnstone knocked it out of the park with his second film. It’s not traditionally scary, but it is existentially scary. As the world makes greater strides in AI and robotics, these kinds of scenarios become more terrifyingly possible. Luckily, you have the strange image of M3GAN twerking or driving an expensive sports car to make you giggle past the discomfort.

Bong has some cache to make whatever he wants, and he uses this freedom to build a wild and intriguing world that is both humorous and politically charged.

Pomerantz’s screenplay is deceptively complex, yet it’s pulled off effortlessly. Pomerantz is presenting ideas of self-discovery, lifelong friendships, confusion and uncertainty in who a person is, and handling all this in a remarkably entertaining and endearing story.

Even as it eventually loses steam on the way towards a rushed conclusion, the film’s prevailing charm and characters shine through such struggles.

Cronenberg still is one of the most intriguing horror filmmakers working today, and when Infinity Pool is working, it's unlike anything that you've ever seen. But when comparing Cronenberg's approaches in this to something like Possessor, it becomes clear that it's better when there's a method to Cronenberg’s madness.

Director Nora Fingscheidt adapts Amy Liptrop’s memoir of the same name like a master conductor, melding the past and present expertly to create a staggering look at addiction through a magnificent performance by Ronan.

Christmas Eve in Miller’s Point manages to bring to life a realistic portrayal of the holidays, in both its ups and downs, that few holiday films ever even try to accomplish.

As one of the year’s most delightful surprises, The Sheep Detectives is a charming, smart, and sincerely heartfelt whodunit that proves even the smallest voices can carry the biggest stories. But best of all, it’s also the kind of film you don’t expect to love this much and one you won’t forget anytime soon!

It’s a long, hard ninety minutes, even with someone as charming as Farrier leading the charge, but that ultimately feels like the point — that minutes turn to hours with Michael Organ.

A stunning embrace of abject horror that peels back the layers of skin just as it does those of the mind, The Outwaters stumbles upon a brutal brilliance in the desolation of the desert.

Despite its flaws, Bazawule’s strength behind the camera and an incredible cast down the line make The Color Purple a worthy adaptation.

Babes succeeds as a comedy with enough primetime laughs — that’s (typically) what happens when hilarious comedians join forces — but never fully jells into a balanced experience between prenatal jokes and dead-serious subplots.

Queer might not be everyone's vibe, especially when it gets wild in the final third, but there's something in the way that Guadagnino brings all these elements together and crafts his own story out of Burroughs' novel that continues his growth as an essential filmmaker of today.

With Bugonia, Lanthimos elevates an already fantastic concept, making an essential film about the world we live in and just how insane and hopeless it can feel at times.

It's a delightfully smart and ambitious story that is equally powerful for children and adults alike.

Mad About the Boy is the disappointing end to a franchise that should have never gone beyond its first sequel.

The McManus brothers have crafted something that manages to be both sprawling and intimate, complex yet without becoming convoluted. Redux Redux is a strong indie sci-fi film that will make you excited to see what the McManus brothers have up their sleeves for next time.

Whether you're an uninformed novice or an established fan, Dungeons & Dragons: Honor Among Thieves serves up enough unabashed silliness, memorable characters, and epic storytelling to invite anyone into its entertaining realm.

The cruelty at the core of this vivacious vampiric farce is blended up with sharp yet silly gallows humor, ensuring the grim absurdities Larraín gracefully teases out increasingly take flight even as he continually drags us into gruesome and gory depths.

From its narrative that blends so many ideas exquisitely, to the gratifying characters and narrative arcs, to the absolutely stunning animation style, Arco is quite possibly the best animated film of the year.

What, on the surface, appears as a gothic tale of the occult with shocking visual mutation, is actually a tender tale of misunderstanding and tragedy.

In the end, Bayona’s film takes us right into the heart of this story with clear-eyed focus and the necessary technical craft to make it work.

Die, My Love is further proof that no one is doing it like Lynne Ramsay, whose technique and style continue to evolve, as she draws out a career-best performance from Jennifer Lawrence in a must-see thriller spectacle that turns a single woman’s experience into a brutally honest psychological epic.

Once Arnett's Alex takes the stage, it transforms into one of the most memorable and heartfelt films you'll see all year.

Okuno is certainly not showing us anything we haven't seen before, indeed these stories are all too familiar, unfortunately. But the skill is not making the horror indulgent. Julia's dread is something we feel distinctly. Monroe, someone familiar with the horror genre, is perfect as our hero who is equal parts determined and terrified.

Although it could be debated whether this is a rom-com or not, given that the romance itself takes a back seat, it excels as a feel-good, indie dramedy anchored by Amanda Peet's career-best cinematic return.

Rosemead is an absorbing and thoroughly heartbreaking movie that deals blow after grievous blow to its audience, and Lucy Liu is just astounding.

When Late Night with the Devil casts off the tenuous bindings it is using to hold back chaos, it arrives at something more frightfully fun.

Eileen is an intriguing little story that shifts and alters the further it goes, playing with the audience, and giving them the opposite of what they’re expecting. Eileen isn’t going to be everyone's cup of tea—especially those who think they know exactly what they're getting themselves into—but Eileen is an admirable bit of defiance that is a joy to live inside for 90 minutes.

It lacks the electricity of his past works but, as we come to see, the lifelessness of it all, is, in many regards, the point of the whole thing. It's about carrying on when nothing makes sense.

For me, it’s the film to beat this year, easily taking the crown as my favorite scary movie of the last several years — even if all the scares come from the idea of what might happen when your closest friends turn on you.

The only real downside to Prey is the streaming format through which it'll be released, with the 20th Century movie being shuttled over to drop on Hulu later this week. It's no hyperbole to say that this is a film that demands to be seen on as big a screen as possible, if only in order to thoroughly appreciate one of the best action movies of the year thus far, let alone one of the best Predator movies since the first.

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.

Every scene of Holes is risky since it avoids easy answers and exposes some uncomfortable truths about the justice system.

There’s a lot to like about Seeking Mavis Beacon, and the documentary is at its best when it feels like a celebration and tribute to the technology and its elusive cover model. Overwhelming and chaotic editing choices, however, detract from its overall impact, and what makes the film authentic and special threatens to get drowned out.

Heretic is a clever twist on the religious horror genre, bolstered by three strong performances, particularly Grant’s gregarious yet haunting Mr. Reed.

The Long Walk exceeds even optimistic expectations to easily become one of the best Stephen King adaptations.

The Ring is a silent melodrama that remains surprisingly watchable, and like all 1920s Hitchcock movies, it's certainly a historical curiosity for those interested.

While it may not be for everyone, it is a love letter to and for genre fans, demanding the same kind of twisted, unconditional love it plays around with.

If a film like this were to have anything less than perfection from its leads, it would likely fall to pieces. Thankfully, the story comes to life in the hands of two veteran performers at their very best.