The Greatest Night in Pop is a worthy story in its own right, but a bit more of the director's touch could've done justice to this gigantic achievement of pop music history.

John Candy: I Like Me is a beautiful love letter to the comedian.

It's an engrossing thriller that reels you in with its unconventionality and offers up something different in a largely uniform genre.

In just under two hours, Apatow and Berkeley truly do their best to cover every facet of Bamford, and it is an impressive document of her greatness.

McGann weaves together an emotional and tragic tale in the third act, one that hits hard after following the story of these two lovers throughout the film. Mixing this with the magnificent footage of an alien underwater world, one that few of us will ever see with our own eyes, and there is a lot to like.

Harris and Dormer are the best of frenemies in this sneakily stupendous character study, as relentless as it is mysterious.

The film has the power to bring its audience to tears because the story is powerful, and the thoughtful creative decisions do justice to it.

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.

John Magaro, Steve Zahn, and Dylan Baker lead a cast of stellar character actors in a film that winds up being one of the better Fargo-adjacent movies we’ve gotten in some time.

With only two films, Raiff has proven himself to be one of the most exciting filmmakers today, telling stories that are emotionally honest and lived in, without any pretensions and with an unabashed tenderness.

Its relatable story is what really makes Sacramento a film that's worth revisiting again and again for its charming fable about the price of friendship and fatherhood.

What makes this latest documentary from director Peter Nicks different is how it takes time to sit with the failures and go just a bit deeper.

A thriller that starts solidly enough and picks up steam before blowing the doors off with an outstanding ending, Magpie is one of those rare films that feels both fresh and alive while building off classic genre works of the past.

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.

It has a lot on its mind that it wants to tackle, but that leaves much of the explorations it is undertaking feeling half-baked. This doesn’t drag things down too much, as it is mostly able to keep light on its feet, but it does make things a bit wobbly.

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.

The Luckiest Man in America is a strong story when it sticks to the facts, and Hauser is undeniably an excellent choice for this role, but the film really presses its luck by taking such huge liberties with the facts.

The texture that gives vibrancy to these types of understated stories just isn’t there, ensuring that what little there is to grasp onto soon slips away as well.

While fans might wish for a more traditional “follow me around” documentary that dives deep into all things Captain Kirk, this softer, more contemplative side is just as profound as the legacy he will leave behind.

Smile holds no surprises. No big twists. You know what you are getting going into this movie. It is predictable from the first minute. But it is an enjoyable, scary ride that is well-plotted and acted. You will know how it ends within the first five minutes of the film. But the ride getting there is well worth it.

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

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

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.

Even though the film does at times feel like it's setting up for future projects, it never feels burdened by this, but rather, like we're seeing the natural progression of where these characters' stories should lead. Thunderbolts* is a pleasant surprise in the MCU; it only took a team-up of Marvel’s unlikeliest superheroes to bring it out in them.

It is grimly funny at times, though no less terrifying because of it. Everything compliments itself as we observe the beautiful forest being made into a hunting ground where there is nowhere you are safe for long.

The passion that was brought to creating the perilous and dark world is just so spectacular to take in. If modern superhero films had even one iota of the creativity of this one, they wouldn’t grow so tiresome.

Despite using genre conventions both for its thriller and the mysterious horror story layers, New Life feels fresh and innovative, presenting a mix that works so well that it’s a wonder no one ever tried to do something similar before.

The film captures the reality of an abundantly free, but unguarded childhood well, and the resultant dreamlike quality of certain scenes is thoroughly engaging. It's absolutely a journey to watch.