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

There is just enough magic that it discovers by the end to give it a closing spark, but there is a mighty long road to get there, ensuring it all just remains merely okay as opposed to comprehensively good.

Trap is another promising thriller from M. Night Shyamalan, but his filmmaking choices simply can't do this conceit justice.

Thanks to a witty script and a charming cast led by Damon and Affleck, The Instigators is a fun heist film with heart that blends the right dose of humor, action, and emotion for a comedy you can watch again and again.

All through the scattered experience, Page is a shining light. Every move he makes gives the film something greater that it is never able to grasp.

It is a somewhat decent movie hampered by so many preventable oversights and missteps.

The Last Breath is competent to a point, without ever exceeding — or even achieving — baseline aquatic horror standards.

With Made in England: The Films of Powell and Pressburger, Hinton shows the legacy that films can have and how time can benefit films that don’t receive the recognition they deserve.

Hell Hole is a solidly gory, goofy little ride that cuts through any hiccups to get to the meat of a madcap indie monster movie.

There is much that could easily lose some people when they behold elements of its grand design, but for those willing to get on its wavelength, you’re in for a treat as beautiful to look at as it is unexpectedly haunting.

It is moody and creepy, though perhaps not brave enough to wander into true melodrama or bizarre fantasy. In the end, its performances and the way it incorporates Gothic elements, along with a strong visual aesthetic, make the film a worthwhile watch.

Deadpool & Wolverine is a shot in the arm that the MCU needed, and finally shows the full potential of Ryan Reynolds' Deadpool.

Jérémy Clapin’s Meanwhile on Earth is a mesmerizing work of science fiction with a magnificent performance by Megan Northman.

The Beast Within, a human tragedy awkwardly disguised in wolf's clothing, stumbles badly.

There’s an edgier, grittier, and more thought-provoking movie hiding in here somewhere — about chasing adrenaline and the commodification of your body, safety, and existence — but what we get is still plenty entertaining.

Try as it might to tackle complex themes and serve up some steamy romance, both endeavors fall flat and will likely leave audiences underwhelmed.

Oddity is another horror gem from writer-director Damian McCarthy with an enthralling performance by Carolyn Bracken.

My Spy: The Eternal City is an underwhelming action-comedy sequel that is best as a covert coming-of-age tale, but more frequently suffers as a grab-bag of tonality that abandons what helped My Spy succeed in the first place.

It's not the Sandra Hüller movie you might have hoped for, and Sisi & I never communicates any particular reason for us to perceive Sisi through this boring outsider's perspective. But even if the movie doesn't come to a clean point, it maintains a certain grandeur.

It's a film that subtly reminds the audience to slow down, be present, and enjoy what one has, because it can be gone in an instant, while also encouraging hope. It's a beautiful cinematic journey and one not to be missed.

The Outlaws is a lean Western tale of paranoia and betrayal that mostly hits the target, but lacks greater all-around development.

Sing Sing feels like a true ensemble piece, giving all of its characters a chance to shine.

At the end of it all, it’s unclear if Lumina is anti-aliens, anti-government, or just anti-cinema. If you go into this one expecting genuine thrills and a compelling alien abduction story, you will likely leave the theater confused, disappointed, and wishing you’d spent the past two hours doing … quite literally anything else.

This bold feature debut refuses to shy away from gore, social commentary, or a heartwarming ending for its characters.

It’s a weird film that eventually gets lost in itself, but there’s still much to be appreciated.

For a lower-budget actioner, Murder Company is absolutely worth its eighty-six-minute runtime.

Parthenope is a decades-spanning slice-of-life movie that has no interest in diving into the complexities of its protagonist.

Without going too far into detail, as the sudden swerve it makes is too delightful to dare give away, it takes a plunge into its own distinctly offbeat, frequently absurd, and ultimately melancholic vision.

Last Summer’s solid performances elevate it, but it never reaches the heights it could by digging more deeply into the themes and more firmly grounding us in the characters and their emotions.

While most movies have a particular section reserved for fun and games, Karaçelik's tale is engaging in its entirety, with captivating performances from its cast that will make parting ways with Keane, Suzie, and Kollmick a difficult thing to do.

Longlegs takes a bit to get us settled into its brand of horror, but once it does, it’s hard not to be impressed by the place between here and there where we find ourselves.

On balance, Twisters is nonetheless a thrilling crowd-pleaser that takes the disaster picture in exciting, novel directions, and an excellent showcase of talent across the board.

At its core, Fly Me To The Moon is a thoroughly enjoyable, memorably novel rom-com that regularly surprises in a genre that often doesn’t, and we're all better for it.

Despicable Me 4 understands its appeal and plays to its strengths. With fun details, vibrant animation, and strong comedic energy, it is a delightful and entertaining addition to the franchise, offering enough laughs and heartwarming moments to satisfy both longtime fans and newcomers alike.

Despite its best efforts, Space Cadet never reaches its potential as a comedy or an aspirational tale. Instead, the movie gets lost in the realm of forgettable, lukewarm rom-coms, having lofty aspirations but, unlike its lead character, remaining firmly on the ground.

Beverly Hills Cop: Axel ' perfectly recaptures the joy of the original two films and is powered by a joyful Eddie Murphy.

Polished off by a vibrant cast, Annick Blanc’s feature debut is an impressive feat and a refreshing and minimal twist on the “eat the rich” trend in Hollywood.

Chestnut is an effective and enjoyable if rather simple and slight coming-of-age movie about a unique time in a person’s life that few filmmakers have chosen to focus on.

The film has one mode, and it's never coy about its intentions to pry tears from your ducts as often as possible. If you're in the mood for a Shakespearean J-drama about mortality, stock up on hankies and let 'er rip.

Kill is every bit as insanely violent as you could hope for. It mixes melodrama, romance, and an aggressive amount of violence in ways that few filmmakers are capable of doing.

For the most part, Kalki 2898 AD is a strong epic that's certainly worth visiting, thanks to a unique genre hybridization, interesting worldbuilding, and skilled performances.

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

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.

As the film attempts to weave itself into a screwball comedy, it unexpectedly bobs into a weak character study, skewing situations and characters while never quite touching the ground or giving us reason to care.

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.

Daddio is a repetitive and reductive experiment in dialogue-driven storytelling.

Sure, the story isn’t groundbreaking, but it makes up for it in its tribute to why we love cinema, specifically horror, so much. Even though it wasn’t needed, MaXXXine secures Ti West’s trilogy as one of the best in horror history.

Please don’t misinterpret this scathing review as an encouraging push to check out what could be a ridiculously flawed watch with friends. Agent Recon is unwatchable and doesn’t deserve your patronage.

I Am: Celine Dion is a piercing portrayal that doesn't shy away from making audiences feel like a fly on the wall

In the end, All That We Love is a film about permission: permission to grieve in our own way, to allow others to do the same, and to know that we are still worthy of acceptance, even in our less-than-perfect moments.

In Trigger Warning, there's nowhere for Alba to go — no notable battles to fight, nor an interesting war to win. And what we're left with is just another disposable action movie, dropped indiscriminately on a streaming service to sit among all the others.

A fun concept does not automatically mean a quality film, as the overly intense direction, hollow scares, and imbalance of tone make it a thrown-together mess.

It’s like a good theatrical production. It’s often charming and more than a little chaotic.

Reverse the Curse calls its shot with confidence but doesn’t possess the fundamentals to bomb a home run, barely getting on base with this out-of-synch heartwarmer that’s icy to the touch.

This is the kind of film that has the power to change minds, hearts, and lives.

You get wrapped up in the whimsy of it all just before it all hits you like a truck, finding plenty of resonant emotional flashbacks that contextualize and deepen the experience just in time for the conclusion.

The film does pull out all the stops for the finale but, for nearly every moment it stands tall in this conclusion, it also stumbles and falls in the getting there.

Despite a strong central performance from Sasha Luss, Latency works against its own concept and falls into cliché thriller tropes.

It all falls apart as there are no personal touches, character specificities, or horror sensibilities that fill in the many gaps of this hollow script.

Brats serves as not only an enjoyable walk down memory lane but also something deeper and more self-reflective.

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.

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.

Eephus delivers an experience that lingers, successfully capturing a deeper melancholy that can’t be shaken.

While the more extreme moments of the film may capture the most attention on first watch and are remarkably well-executed, Potrykus deserves praise for how precisely he captures the depths of pain that come pouring out of people like the ash out of a firework.

Morrisa Maltz’s Jazzy is a gentle, impressionistic wonder that authentically captures growing up.

Robot Dreams is a beautifully animated look at life, friendship, and what it means to grow apart.

Along with his co-writer Bossi Baker, Erkman has made a distinctly eerie and sinister debut that succeeds at sneaking into the depths of your subconscious.

What makes The Damned so effective is how grounded it all is in the characters and their perception of the world.

Louis-Dreyfus is subtly excruciating in her grief here, and it’s marvelous to watch her work in a story that allows her to play with such a range of feelings.

I see dead people in this film, but their cause of death is simply boredom.

A Part of You is touching and effective without ever veering into emotionally manipulative or exploitative territory, which is not an easy feat when you’re dealing with this subject matter, especially in this genre

Though it assembles some of the right ingredients before laying them out before you, it never proceeds to arrange them in any particularly interesting or entertaining way.

It doesn’t deliver a knockout like some of Miike’s other films, but it still manages to beat all it has working against it into submission. One can only hope it manages to beat the odds again and find the audience it deserves.

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

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

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.

Young Woman and the Sea puts its own twist on the inspirational sports movie, with a powerful turn from Daisy Ridley.

Oh, Canada is a more reflective work from Paul Schrader with plenty on its mind that still falls short of his best works.

Bionic is another sci-fi dud for Netflix, bringing nothing new to the genre and not much more to its action sequences.

It's a remarkable, revolutionary work of art. As precisely focused and tightly constructed as it is expansive in its aspirations, it’s a rallying cry for the irreplaceable value of artistic expression in a world that will repress it at all costs.

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.

While hardcore fans won't learn anything they didn't already know, 'The Beach Boys' documentary is a perfectly entertaining love-letter to the SoCal band.

It’s moderately entertaining thanks to its VFX but falls short on its performances and story as the overall idea exceeds the final product.

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.

The Garfield Movie is silly to a fault, feels seventeen hours long, and lacks any pulse of life.

Coralie Fargeat’s The Substance is a film whose style might get in the way of the substance, but it still ensures the filmmaker will have a legion of new horror fans waiting for what she does next.

Anora is Sean Baker's most searing and shattering film yet with a breakout performance from Mikey Madison.

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.

A lot is going on all at once, but little of it coheres into anything substantive, let alone actually memorable or meaningful.

Sadly, Nightwatch: Demons Are Forever is another example of a sequel that exists just to reminisce on what came before without doing much new until it's nearly too late.

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.

The creatively (and morally) bankrupt and downright offensive biopic glosses over Amy Winehouse’s complicated, and ultimately, tragic life to shine a more flattering light on her father and ex-husband, distorting the real-life events in her life to tell its own narrative.

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.

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

Much as he’s done in the past, this film dissects the casual cruelty of love and relationships through a combination of the filmmaker’s distinct sense of dark humor that occasionally flirts with something closer to a more strange sociological horror.

Much like the city being built in the film, it’s all more interesting in theory than it ever is in actuality. Now that we will all have the chance to take it in for ourselves, the greatest revelation is that there just isn’t that much there to see.

For now, stick with the original.