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.

Unfortunately, where the film falters is with its other star, the aforementioned Chris Hemsworth.

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.

From a talented cast in Léa Seydoux, Louis Garrel, Vincent Lindon, and Raphaël Quenard to an initial willingness to be ruthless in tearing apart the messy art of moviemaking, it could have been something truly great. nstead, just when you think this movie about making movies is starting to get somewhere interesting, it reveals itself to be only a sporadically funny satire with a surprising lack of teeth.

Lazareth is sluggish, low-energy, and not particularly suspenseful, but most of all, it squanders a stellar Ashley Judd performance in a period where her silver screen appearances are becoming scarcer and scarcer.

The performances are all giving the necessary punch even when the writing is not. It may frequently get lost in its own narrative woods, but Bana manages once again to bring it all back to humanity.

It wants you to buy into the heart and the humor without earning either.

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.

[Bartholomew] gives us insights into her character more naturally than some of the occasionally forced dialogue, showing us glimpses of her increasingly fractured mind through an embodied performance. Even when the film doesn’t fully capture the spirit, the spell she casts gets awfully close.

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.

If you haven’t feasted on Indonesia’s bounty of recent horror releases, don’t start here. Dancing Village: The Curse Begins is like elevator music in comparison.

Prom Dates mostly blends into the countless other films that cover the same subject matter, but there are a few moments here and there that elevate it to something more. While the characters are thinly drawn and their arcs underbaked, the comedy is there for the most part.

It isn’t the worst shark movie out there, but that’s not saying much. By the time we get to the “big final confrontation,” it loses a handle on what it was going for.

Seinfeld has made a directorial debut that ends up feeling like a bowl of sugary cereal: not a terrible thing to eat, but not as fulfilling or substantial as you might’ve hoped it would be.

Mars Express finds deeper truths that are as tragic as they are transcendent. This makes it a sci-fi tapestry not just worth getting lost in, but one that is deeply human as well. What a painful joy it is.

Tarot is a pretty forgettable horror movie. Dull characters, a basic plot, and very little to say with its themes render it a fairly unmemorable experience.

The Contestant is riveting, but it stops short of the type of analysis that would take it to the next level.

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.

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.

Cora Bora is a bit of a surprise first leading role for Stalter as it's a comedy that’s soaked in heartache, trauma, and self-discovery. It’s a vehicle that proves she can not only make us laugh, but make us feel some feelings, too.

Even as it comes awfully close to overstaying its welcome just a bit, much like the spiders in the home of the characters, it very quickly grows on you.