'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.