As the name suggests, when you watch The People We Hate at the Wedding, you're going to be watching messy characters doing things that would make someone hate them. The film successfully toes the line of making that kind of cringe comedy without completely sacrificing these characters, despite their many flaws, you do still root for these people, and you want them to resolve their issues and live happily ever after.

The Inspection proves to be a rich work of personal introspection crossed with a wiser slice of life portrait of an era that can only come when looking back.

Sarandon, Keaton, Gere, Macy, Roberts, and Bracey, elevate the script with a charm that feels entirely natural, and they make these characters shine.

With verve and style, Heart of Stone does a great job of creating a new character in the espionage thriller genre.

Okuno is certainly not showing us anything we haven't seen before, indeed these stories are all too familiar, unfortunately. But the skill is not making the horror indulgent. Julia's dread is something we feel distinctly. Monroe, someone familiar with the horror genre, is perfect as our hero who is equal parts determined and terrified.

By cutting back and simply sticking to the thrills and the madness of this situation and little else, Bay has made one of his best films in decades.

The pacing is brisk without once overstaying its welcome, it has an ultra-charismatic lead, plus boasts all the violence, chaos, and melodrama one could want out of this particular movie.

Bolstered by a strong cast and a luscious color palette and landscape, Killers of the Flower Moon is worthy of a watch for those who can look past its romanticization. For those looking for a film that puts Native American voices and characters on center stage or a more comprehensive story, continue moving on, even with three-and-a-half hours, this is not that film.

Elkann is a visionary with the ability to create specific, gorgeous worlds and unique characters, especially when it focuses on the relationship between Pupa and Gianna. The themes that arise during the film are riveting, but it stops short of fully diving into them and their implications.

When Late Night with the Devil casts off the tenuous bindings it is using to hold back chaos, it arrives at something more frightfully fun.

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.