It may not reinvent the wheel for tightly-knit actioners, but Fight or Flight still sticks the landing for a crowd-pleasing and chaotic thrill ride.

Desert Road almost immediately establishes itself as a potent thriller, but the real fun to be had is watching it evolve from one type of film to another, as mundane threats give way to more mystical hazards.

None of it would be as effective if we didn’t care about these characters, and thanks to the strong ensemble and precise direction, the film slowly reveals itself to be a film worthy of consideration.

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.

Spy x Family: Code White is a fun journey with the familiar characters of the series though doesn't add much of anything new.

I was ready for Kill Your Lover to be a better concept than execution, but that’s not true. Its flaws are apparent, from a forced feature duration to inevitable conclusions, but there’s nothing detrimental enough to ruin an otherwise impressive original horror creation.

For better or worse, Kostanski's throwback creature feature wants older horror fans to feel like their childish selves again — as long as their childhoods were filled with Charles Band and Pee-Wee Herman.

The Shitheads is an enjoyable, dark take on the buddy-road comedy that could've maybe used a bit more finessing, but hopefully this isn't the last time we see Blair try this type of comedy.

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

If you need a big, dumb action movie with two buff guys to kick back and down some beers while watching, you are in luck.

There's no doubt that it's been a blast to watch McShane ham it up in the John Wick films over the last decade, but American Star offers a nice counterpoint, showing just how good the actor can be when given a role as layered and engrossing as this one.

If Breakup Season has a lesson for us, it is that relationships can end even when we least expect it and that it hurts like hell. It is an odd message to deliver on a date such as Christmas, but even odder is how cozy it feels. The movie is bittersweet, sure, but the sweetness is still there.

It Ends takes viewers for a terrifying ride in unexpected ways.

Carry-On is pure escapist fare that you can turn on while sitting next to your Christmas tree, and it has enough energy that you won’t feel the need to check your phone every 10 minutes.

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

The movie shines the brightest, harshest light on Kaufman, and still ends up seeing nothing more than a silhouette. What was it all about? We may never know, but Thank You Very Much is about as close as we may get.

The finale could use a little honing (greater context, a little more clarity, some tighter thematic context and background information), but it's still full of enough twists, tension, and surprises to have a solid time at the theater that audiences will be thinking about afterward.

Brides is an original and bold coming-of-age story that features two star-making performances from its young talent.

The film is at its best when Heller is executing novel kills or blackmailing his bosses, and we're given just enough of those adrenaline-pumping scenes to make it all work together well. The Amateur strikes that delicate balance often (though not universally), but it works well enough when it counts, for an outing worth seeing.

Words of War may not be a film that does anything stylistically or creatively to reinvent the wheel, but it has a message that transcends the bounds of art.

Despite the movie's obvious excesses, it is easy to find credible hyperbole for Janiyah's perpetually drawing-the-short-straw lifestyle, where Henson's performance and chemistry with the cast drive forward the socially relevant heart of the film.

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.

'It Ends With Us' is a sensitive depiction of abuse and its performances elevate the adaptation.

Boys Go to Jupiter is the type of animated feature we need more of: experimental, unusual, yet fun and familiar.

Peter Hujar’s Day’s thesis seems to be that it’s these normal days that add up to a life and there’s beauty and importance to be found in living, documenting, and reflecting on them for those willing to be patient. There’s a similar sentiment to be said of the film — it’s a rewarding one for those willing to sit with something slow and experimental.

Miroirs No. 3 is enthralling from beginning to end, a smart, often heartbreaking story that thrives in its simplicity.

Twilight of the Warriors: Walled In is still a more than competent, entertaining, action-packed ride, even if it's not the most original in terms of its plot.

The Apprentice is a film that delves into the figures who shaped Trump’s worldview while never becoming a hall pass for the bad behavior of men like him.

The movie is full of trees, lights, snow, and all the aesthetic trimmings of a Christmas movie, but there's a coziness behind all the seasonal artifice that radiates from the screen, and that, surely, can only be down to the right combination of people having a whale of a time together.

This isn't the scariest zombie movie you'll ever see, and the second act begins to drag as it readies itself for the finale, but if you want a highly original one that makes you feel, Die Alone is flesh worth sinking your teeth into.

A fun, high-octane action movie about a chase against time through a fascinating city.

There is a simplistic charm to the movie that captures the strange in-between times of the early 2000s.

Crowder’s documentary could have just felt like another puff piece and, in some ways, it can be. However, the movie always feels completely genuine and told from the heart.

With a limited budget and a lot of dedication to the craft, the project is able to build on its references to thrillers from the '70s and '80s while finding its own footing.

Ultimately, Wicked Little Letters is a delightful comedy worth writing home about (just be sure to watch your language when you do).

That being said, if you are part of that target demographic, Spinal Tap II: The End Continues has a lot to enjoy. That's especially true when the film shows off a few surprisingly heartwarming moments, which were definitely not as prevalent in the original story.

Through its powerhouse performances, effective bare-bones plots, and strong horror elements, Adam MacDonald's latest survival story gets the job done, and does it well.

Cold Storage is a far better movie than you'd expect, thanks to its clever script, committed cast, and energetic direction. If you are hankering to watch more of Joe Keery battling monsters in the wake of the Stranger Things finale, this is just what the doctor ordered.

Despite not ending on its strongest note, Daughters is still a highly effective documentary overall. Working with subjects this young and topics this sensitive can be challenging, and you always run the risk of feeling exploitative, but Daughters handles both with compassion and care.

Sutherland truly is the star here, and he holds the movie in the palm of his hand. Between the self-deprecating humor and the 110% effort he puts into a silly British Christmas movie, he creates a really friendly and inviting vibe that just radiates off the screen.

It does slightly fall off in its final act, becoming aimless and stretched, and ending around 30 minutes after it should. But its first two acts are deeply enthralling, and Vicky Krieps' lead performance is an Odyssean tour de force.

Stopmotion is a one-of-a-kind, hand-crafted horror film with a great performance from Aisling Franciosi.

Altogether, Black Phone 2 is a mixed bag that still has some clear winning attributes.

The film has all the makings of something fresh and elevated, but it ultimately establishes itself as a solid yet still somewhat stereotypical teen romance with sparks of more interesting, daring fare sprinkled throughout.

It may not feel as polished or suspenseful as Longlegs, but you can tell Perkins is having a whale of a time putting his years of horror filmmaking to the maximum.

Grand Theft Hamlet shows how incredible it is to see how a new medium of storytelling can shift what we know of a beloved work and put it into an entirely new context after centuries.

The Ministry of Ungentlemanly Warfare is a wild ride and one of Guy Ritchie’s better recent films even as its characters prove to be rather thin.

The Threesome is not without its flaws, it could absolutely use some fleshing out in some key parts, and its ending feels like a bit of a cop-out, considering everything that comes before it — yet it delivers when targeting the big emotional core that makes this story special.

As a film that thrives on its leads’ undeniable chemistry, Wolfs draws most of its strength from Clooney and Pitt’s effortless interplay, despite its narrative shortcomings. But for fans of light-hearted action comedies, Wolfs is a howling good time — even if it doesn’t quite sink its teeth in for a lasting bite.

As Hallmark-esque as this Netflix rom-com might be, it offers the perfect combo for what you anticipate from a seasonal title. It delivers on a low-stakes love story between two people from different cultural backgrounds, allows for its main character to grow into her own and understand her worth, and gives viewers the opportunity to escape to Paris without leaving their couch.

It's a good adaptation that stays true to the source material, but Chapter 2 still falls short of adaptational greatness.

Alex Huston Fischer and Eleanor Wilson's romantic fantasy film is a delightful and silly tale that masquerades as a fable. Beneath the surface of its folklore-esque concept, Wicker is more an exploration of human connection, a criticism of the patriarchy, and a fun exploration of just how far one ridiculous concept can be taken.

Stiller & Meara: Nothing Is Lost isn’t just a loving tribute to the great comedy duo of Stiller & Meara; it’s also a beautiful look at how much our closest ones impact us both during their lives and after they're gone.

Tim Blake Nelson and Chloë Kerwin give life to Asleep in My Palm, helping to smooth over the narrative rough spots when it count.

It plays like a late-night serial killer special on a true crime channel. It's organic, unnerving, and proficiently grounded as a modern criminal nightmare.

The Rule of Jenny Pen has a lot going for it. Lithgow and Rush pull off strong performances, the escalation of tension is well-developed regarding the scenes taken as a whole, and the central conceit of the doll is used to strong effect.

The Fantastic: Four Steps successfully invigorates the MCU, but it’s the tectonic shift that audiences thought it would be.

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.

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.

The Immortal Man, while obvious at times, also gives you everything you could want in a Peaky Blinders movie. There's angst, there's violence, there's sex, explosions, and swagger.

The Strangers might not be the kind of horror movie I’ll revisit time and time again, but it will stick with me, finding ways to freak me out with minimal resources.

There are gaps filled with nothing but silence; still, for a no-budget indie, it’s still constructed rather competently.

Bad Boys: Ride or Die might explore too many plotlines or bolt between too many characters, but brains-free enjoyment reigns supreme.

There is a lot that the movie does so right, which is why its various faux pas feel that much more disappointing, but this is far from an overall failure. It's a sign of great things to come from Williams and from The Horror Section.

In a land where truth is habitually stripped away in favor of political and religious control, Bread & Roses serves as a reminder of the bravery of those who sacrificed all for the love of their country and community.

The film memorializes André and keeps him from being forgotten — something he mentions multiple times throughout the film. Yet it also helps André come to terms with everything.

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.

Sometimes, in film and in life, the greatest gifts are the ones you don’t expect yet were there all along. Omni Loop is this in beautiful, bittersweet action. As it loops back one more time, you’ll wish you could run it all back again.

The film manages to capture the specific way queer communities communicate with one another and the unique chemistry between them in a way few others have.

For those drawn to the bent, who crave some "Cheepnis" in a cinematic landscape of overproduced and overpriced madness, they just might fall in love with Dead Lover for all of its foul, fecund, and farcical facets.

Linklater reminds us that he's still able to make two people simply sitting around and talking fascinating. After all these years, the pair of Hawke and Linklater remains a winning combination.

An unrelenting and visceral experience, Julia Max's feature film debut boasts unique and enthralling horror that is more than worthy of haunting your screen.

Regardless of its slight fallbacks, Turtles All the Way Down tells a moving story about a teenager's isolating struggle with mental illness, and her resolve to build a life for herself despite it.

It's enjoyable, sexy, and features a romance worth rooting for — because the only red flag here is the public's reaction to their relationship.

For a director like Howard, whose work can sometimes be a bit too sterile, Eden is a curious experiment in search of a purpose.

While vast in scope, Fighters perfectly weaponizes the magnitude of its stars and utilizes their shared likability to build a real sense of camaraderie among the squadron. This emotional investment proves vital.

Predator: Badlands might not be the shock to the system that Prey was, but it is continued proof that putting Predator in Trachtenberg's was one of the smartest moves this franchise has ever made. The writer and director continues to find brilliant, fascinating ways to explore and expand the Predator movies to an exhilarating level, making this series better than it ever has been.

Like the songs it’s built around, it’s simple and familiar, and sometimes that’s enough to make a movie feel so good, so good.

Trier's understanding of complex family relationships and his ability to portray them honestly make this yet another win for him and a solid entry into his filmography.

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

Without talking about how, why, or in what manner, it is Acken who emerges as the darkly delightful standout of The Sacrifice Game.

Eternity is a cute rom-com with a great cast, but it could've used more exploration of its afterlife.

The story might be thin, and some new characters might not get the attention they deserve, yet The Super Mario Galaxy Movie remains a charming, often hilarious, and playful testament to the greatest video game franchise of all time.

It's not a perfect horror movie, but it has all the right ingredients and is such a great way for someone who enjoys the rougher things in life to spend 90 minutes.

Rental Family’s intent is to create a satisfying, touching, and ultimately emotional film with sweet performances and quiet drama, and that’s exactly what it delivers.

River Gallo shows not only that these stories are powerful and have value, but can also be beautiful and deeply moving.

It settles into a steady rhythm by the halfway point, and goes against the grain of your average survival thriller by emphasizing just how brutal and unfeeling nature is, regardless of how big and strong you are.

As a whole, Devara: Part 1 is a bold and engaging tale marked with a pair of excellent performances by starN.T. Rama Rao, Jr., alongside a bold antagonist outing from Saif Ali Khan.

Relay is a tense, edge-of-your-seat ride that reminds you that they do still make them like they used to, it’s just, unfortunately, not nearly as common anymore.

Thelma could’ve been a one-note joke, but Margolin’s script makes being elderly a strength and not a weakness.

The Tiger's Apprentice is a self-contained, satisfying story that will both entertain and tug at the audience's heartstrings.

Appofeniacs may not be packed to the brim with wacky action scenes and tense horror sequences, but when those moments do come along, they're executed with great finesse from behind the cameras.

Resurrection is a puzzlebox to be probed, a dream not simply to be decoded to provide a singular interpretation, but one to be enraptured as you are caught up in its fragmented logic, soothed by its smoke-filled spaces, and stunned by the myriad connections shared between its two central characters.

As a story that’s more about finding oneself than finding love, Lonely Planet is a thoughtful and heartfelt meditation on how identity and love are intertwined, and how the most unlikely connection with others can serve as a mirror to the best parts of ourselves we’ve been avoiding.

Brooks’ film could’ve come off as extremely silly, but instead, by balancing the tone in just the right ways, it all comes together beautifully.

Good Fortune is about love, redemption, and privilege, but it's also an indictment of exploitative labor and the forces that enable it, even if it takes many clumsy steps to get there. Its greatest strength is a reminder that being a good person doesn't get you a reward — being a good person is the reward.

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.

Pitfall doesn't reinvent the wheel or drastically change the game, but it deserves credit for being a crowd-pleasing slasher.