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.

With This Place Rules, Callaghan has captured who America actually is on a larger canvas, and while the manner in which he paints lessens its impact, who we are underneath it all is where it finds slices of grim truth all the same.

From its simple but effective production design right down to Jinkings’ excellent performance, Toll provides a multi-layered picture of what Suellen’s life is like.

Maniscalco has built himself a very large and dedicated following through his work in stand-up, and with About My Father, he's finally able to bring his jokes to the big screen in a way that will please his fans but also garner him some new loyal followers as well.

Ashford’s screenplay and Madden’s excellent direction all manage to take what could’ve easily been a fairly standard historical war drama and turn it into something more intricate, layered, and surprisingly powerful.

She Is Conann is not for the faint of heart, weak of stomach, or morally pious. It plays upon the most provocative ideas imaginable—pushing the boundaries of not only sexuality, gender, and self-image, but societal norms too.

The End We Start From leaves the audience with plenty to ponder and think about alongside reminiscing about Comer's incredible performance.

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.

Little Richard: I Am Everything has to do a lot in its relatively short runtime, from exploring the origins of the musician, explaining both sides of his personality, and also diving into Richard’s influence on the future of music. Thankfully, Cortés’ documentary handles all this beautifully, and will make the viewer want to immediately learn more about Richard, his extremely fun work, and the life that impacted so many around him.

Alberdi reminds us of the essential beauty of personal connection, and it elevates The Eternal Memory from a memoir to a glimpse into what the best humanity has to offer even in times of hopelessness or crisis.

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

First Kill is a smart, tight film that fits perfectly into what the first Orphan film set up over a decade ago.

On paper, it already doesn’t seem like it makes sense as a Blomkamp film, and on the screen, he makes even less sense for this project. In the world of racing films, Gran Turismo is merely drafting near the back.

It is very much an ensemble film, yet it also serves as one of the final demonstrations of how Cloud could command a scene like no one else. That alone makes Your Lucky Day a bittersweet gift, but the sharp film also has quite a lot else going on as well.

The Bob’s Burgers Movie isn’t exactly breaking new ground for this world and these characters, but instead, is showing how impeccably crafted and brilliant this world is when it's firing on all cylinders.

For a studio renowned for the time and attention it gives both the technical and storytelling sides of its production, the finished product is remarkably uneven. Yes, it’s great that there’s a new Studio Ghibli movie, but that doesn’t mean that the new Studio Ghibli movie is great.

Despite its flaws, Something Wicked is the great standout from Disney’s experimental phase under Miller.

In a filmography that is full of impressive journeys through space, history, and staggering emotions, Armageddon Time feels like one of Gray’s most ambitious tales so far, even if it isn’t quite as effective in presenting its ideas as it should be.

As a documentary, Sorry/Not Sorry isn’t groundbreaking in terms of form or information, but it does feel important in the larger conversations that Suh and Montes are exploring, as C.K. isn’t the first nor will he be the last celebrity to have the pain they've caused unveiled to the world.

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

Hustle isn't breaking the mold of what a sports film can be, but it is yet another reminder of Sandler's gifts as a dramatic actor through an extremely charming and compelling story about a mentor trying to help another reach their potential.

It is one worth putting on your radar even as it magnificently goes all over the map into the cosmos the longer you get lost in it.

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.

There will always be much to the film that is too distant, but the moments where Stolevski pulls us in closer make its portrait of passion resonate where it counts.

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

While Copa 71 can feel a little surface-level at times, it’s still an enjoyable watch and a solid introduction to an event very few remember.

It’s a film that doesn’t feel the pressure of reminding the audience that it’s a comedy, which makes the story and the dysfunctional—but very loving—family that much more endearing and authentic to real life.

Both in terms of the way he lays out all the information and the craft of the filmmaking itself, Kohn shows greater patience in drawing everything out. That it teeters on the edge of the grim acknowledgment that even its truths may not be enough to change our perception of this industry and the power it holds makes it all the more enthralling to behold.

By capturing Flipside in this way, Wilcha shows the weird, unbelievable nature of life and the surprises that make it such a beautiful mess.

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.

I Want You Back largely relies on the overwhelming charm of its tremendous cast, and in particular, the magnificent dynamic between Slate and Day, but that’s all I Want You Back really needs.

Death on the Nile might have been a long time coming, but it’s one of the most alluring mysteries in years, and a great example of how Branagh can elevate iconic stories with grace and care.

A film so quirky that it’s ready-made for a Wes Anderson remake.

It is a beautiful, haunting, and heartwarming look at the tidal wave that trauma brings not just to one person but their entire circle. With subtle but sharp notes on MeToo, cancel culture, online trolling, and sexual assault, I Used to Be Funny is a searingly relevant film without making that its main objective.

Through We Feed People, Howard shows how impressive and powerful Andrés’ operation is, often covering large areas that need disaster relief. At certain points in We Feed People, even the Red Cross and Salvation Army are asking for help from Andrés in these truly awful times.

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.

While it never fully succeeds, Khan understands that strange in-between place that ‘80s films exist in and mimics that energy well, even if the script doesn’t quite keep up.

Fennell’s direction outdoes her writing here, and the cinematography from Linus Sandgren is exquisite (no surprise).

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.

Howard's no-frills approach to Thirteen Lives is what makes it such a success.

It is almost like a novel in how expansive it is, providing a sense of scope that can frequently leave this story feeling scattered. As the city is in a constant state of change, the lives of the characters are similarly in flux as their already pressing problems only become more and more dire.

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.

Backspot is a film that, missteps aside, is elevated by a great performance by Devery Jacobs and a terrific ending.

Kingdom of the Planet of the Apes explores the past while creating a new future, starting this fresh angle on the series to a rocky, but promising start.

The destination is worth the journey, and it offers a viewing experience that feels earned in the end

Race for Glory: Audi vs. Lancia is a compelling and rewatchable film though it feels as though some elements have been cut out.

Similar to the original, Another Simple Favor manages to defy your expectations. It's a sequel that never feels hellbent on just repeating the same plot beats as the first. While it does get too cocky in delivering dozens of plot twists, the sexiness and soapiness are still there.

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.

With fun production elements, a goofy storyline, discordant yet effective sound design, and enough oddness to keep things captivating, traversing through the world of OBEX makes for quite an entertaining journey.

Freelance gives us a morbid pay-off to the lingering tension that riddles the entire film, while also harmonizing its seemingly separate themes of painstaking freelance work and human brutality.

The trio of actors has such chemistry and the movie's sense of humor is so sharp that it is hard not to be captivated by what you are watching.

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 bold performances, a strong vision for the source material, and a wise decision to focus on this under-represented portion of this narrative, The Return makes for an effective character piece that proves these stories are not only timeless, they’re as timely as ever.

With energetic dance sequences and a heartwarming bond between a father and a son, K-Pops! is a bundle of joy that rarely misses a beat.

The end result is a highly entertaining, highly provocative film that brings the best of a revenge thriller with a boost of a bit of deeper cultural expression.

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.

Although the film is by no means a groundbreaking biopic, it has an effective execution that will appeal to the masses, especially viewers urging for another hero to root for in the face of adversity.

To watch This Is Me…Now: A Love Story is to admit Lopez’s ambitions as an artist stretches well beyond what people say about her. But even though the film acts as a manifesto of her creativity, not all of it works.

Shoshana may be relevant and powerful, but lacks balance and emotion.

Jim Henson Idea Man is an adoring look at this remarkable man that never slips into hagiography, yet, it’s a documentary that will only make you appreciate the multitudes that made Henson who he was.

In every piercing stare, you can see Terry’s determination and drive just as you do brief flashes of overwhelming despair at the depravity that surrounds him. It becomes surprisingly emotionally impactful at key moments, all of which Pierre plays perfectly. For all the restraint both actor and character embody, the joy of the film comes in how you see the righteous fury growing inside him. It's just waiting to burst free to set things right in a world gone awry.

Eagles of the Republic's greatest strength lies in Fares Fares, who is all too convincing as a superstar actor in Egypt, striking a delicate balance between his comedic scenes and dramatic ones

A Very Jonas Christmas Movie is utterly enjoyable, giving fans a handful of new tracks to set the tone for the end-of-year festivities.

It's got enough charm and entertainment value to keep fans of Brando entertained and satisfied from start to finish. In short, Billy Zane makes Waltzing With Brando an offer that's hard to refuse.Waltzing with Brando is in theaters now.

Bone Lake isn't heavy or particularly meditative with its themes of sexual repression, mismatched couplings, and people's absolute failure to efficiently communicate with each other, but it gives us just enough to pad out an amusing framework and make us wonder where it's all headed.

Told from the perspective of a “presence” in a house, Soderbergh explores this type of horror story in a way that only he can, playing with the structure of similar films, screwing with our expectations for this type of film, and once more, testing himself while showing the untapped potential in the genre.

While the documentary of the same name might be able to capture the more human elements better than any adaptation could, the technical marvel of this feature film's underwater sequences is well worth diving into.

The end result is a film that truly feels like it has something to say and goes about saying it in the strangest way possible.

A little more full-throated absurdity and humor would've been a great step for the film to take. Ultimately, The Moment is a delightful spotlight for Charli XCX as an actor, and the concept itself finds some playful ways to expand on the lore of of her massively successful album. "brat" is dead. Love live "brat."

When the film gets going in its tremendous third act, complete with a moving surprise that reconfigures the entire film, IF becomes a magnificently emotional experience, cathartic and enchanting in equal measure, and just the type of original idea we need more of on this scale at the movies.

Once again, Daisy Ridley proves she has the charm and star power to make even the shakiest scripts a thoroughly enjoyable watch. Like Protégé, Cleaner has a lot of compelling storylines, action sequences, and intention, but the execution leaves something to be desired.

The Bad Guys 2 is a gorgeous, fun animated film that occasionally spreads itself too thin.

Alien Romulus has a promising beginning and end, but the middle gets a bit too muddled in nostalgia for this franchise.

As a film, Mortal Kombat II does still have some issues with some awkward pacing and perhaps one too many characters to juggle, particularly in the first half. But once the second half gets going, it becomes a bloody good time and a bone-crunching spectacle from start to finish.

It's another perfect excuse to shove popcorn in your face as you cheer watching Statham beat some people up.

It's got the heart, humor, and wonderful animation to keep you entertained this holiday weekend.

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.

Through its dynamic direction, clever script, and stellar, largely Canadian cast, Humane has earned a place in the longstanding genre of ecological thrillers. It's a fun, bloody reminder not only of how far people will go to save themselves, but to always bring pepper spray to an unexpected family dinner.

Death of a Unicorn is a delight; a clever, sharp-horned, and violent horror-comedy that demands to be seen on the big screen with an audience.

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.

The End paradoxically feels ornamental and operatic while at the same time almost iconographic in its simplicity.

By the film's end, both the film and its titular protagonist become honed, complex, and much-improved. It's an inconsistent sword-and-sandal epic, but one that lands some major notes as the sequences and combat get bigger, bolder, and feature better grounded performances.

Tron: Ares isn’t likely to turn Tron into the major franchise Disney has clearly wanted it to be for decades, but it is a sign that the company has a smarter understanding of what these movies need to be: exciting to look at, with a great soundtrack, and with a story that’s dumb fun. Tron: Ares not only achieves that, but finds fun ways to fit in the other installments that make you actually want to see more installments in this world, as opposed to having them forced upon us. Tron: Ares isn’t a killer app, but it is a solid upgrade.

This incredible cast, especially Washington, Nielsen, and the overlooked Pascal, and this expansion of the compelling political machinations make Gladiator II a worthwhile sequel, even if it can't match its predecessor. Gladiator II will leave you entertained, but leave you with an unfortunate feeling of déjà vu.

Striking Rescue follows familiar beats, but there are enough twists and solid performances to land it well, while the action sequences are delivered with Jaa's characteristic uncompromising intensity.

With a phenomenal performance from Frank Dillane and a thoughtful, open approach to those who lose their way in life, Urchin is a worthy contribution to the cinematic portfolio of British realism.

With a powerhouse ensemble leading viewers through their raw, tender story, it’s more than a necessary watch that should aid in opening minds and prompting conversation.

Gasoline Rainbow blurs the line between documentary and narrative filmmaking to create a road trip movie unlike you’ve ever seen before.

The main central path brings with it a rewarding story that boasts the risks and payoffs of falling in love. The other thinner side paths on this road, unfortunately, frequently lead to dead ends despite being ripe for genuine expansion.

Riz Ahmed's fiery turn and a bold South Asian lens make this Hamlet compelling, even if uneven.

Does Exit 8 work as a film on its own? Yes, it does, but it likely works best for those who've played the game before and are familiar with the concept. Otherwise, the tedious nature of the game that is duplicated in the film can feel like more of a chore than entertainment. As a lover of the game, it felt like the perfect adaptation, but, much like the game, the film isn't going to be to everyone's taste.

The pacing and comedy feel like they slow down a little at the beginning of the third act, but Ick is largely a very entertaining, engrossing, and endearing take on a classic staple of mid-century sci-fi horror, reworked for the 2020s.

Led by brilliant performances all around with a simple but effective story, A Quiet Place: Day One may not be the most horrifying alien film, but it stands apart from its predecessors while staying true to why so many people love this franchise.

Michael may not rewrite the musical biopic, but it does just enough to set itself apart and inject a bit of new life into the genre by leaning into the family drama at its core. The performances are top-tier across the board, with Valdi and Jackson immediately becoming stars to watch and Domingo and Long proving once again why they’re considered two of the best in the business. The level of craftsmanship — from the hair and makeup to the costumes and production design — is unmatched, helping to compensate for a weaker screenplay and inconsistent direction.

Grounded by exceptional performance across the board, a rich and funny script, and confident direction, Lisa Frankenstein is a delightful film. It doesn’t break a lot of new ground (unless you count the many graves that are dug up throughout its 101-minute runtime), but it does manage to frequently subvert expectations of horror, comedy, and romance movies alike. All-in-all, it’s a bloody good time.

[Tina Romero's] feature directorial debut, Queens of the Dead, takes the basics of what her dad is fondly remembered for and spins it off in its own distinct style. She is most certainly a Romero in her filmmaking, but you'd never mistake Queens of the Dead for her father's work.

I Want Your Sex proves that every generation needs its own Araki film.

But despite how charming and fun Elio is, it still falls prey to some of Pixar’s occasional problems. Yes, this is a story of intergalactic adventures and a wide universe of possibilities, but it still can get a bit convoluted at times.