It does slightly fall off in its final act, becoming aimless and stretched, and ending around 30 minutes after it should. But its first two acts are deeply enthralling, and Vicky Krieps' lead performance is an Odyssean tour de force.

Stopmotion is a one-of-a-kind, hand-crafted horror film with a great performance from Aisling Franciosi.

Altogether, Black Phone 2 is a mixed bag that still has some clear winning attributes.

The film has all the makings of something fresh and elevated, but it ultimately establishes itself as a solid yet still somewhat stereotypical teen romance with sparks of more interesting, daring fare sprinkled throughout.

It may not feel as polished or suspenseful as Longlegs, but you can tell Perkins is having a whale of a time putting his years of horror filmmaking to the maximum.

Grand Theft Hamlet shows how incredible it is to see how a new medium of storytelling can shift what we know of a beloved work and put it into an entirely new context after centuries.

The Ministry of Ungentlemanly Warfare is a wild ride and one of Guy Ritchie’s better recent films even as its characters prove to be rather thin.

The Threesome is not without its flaws, it could absolutely use some fleshing out in some key parts, and its ending feels like a bit of a cop-out, considering everything that comes before it — yet it delivers when targeting the big emotional core that makes this story special.

As a film that thrives on its leads’ undeniable chemistry, Wolfs draws most of its strength from Clooney and Pitt’s effortless interplay, despite its narrative shortcomings. But for fans of light-hearted action comedies, Wolfs is a howling good time — even if it doesn’t quite sink its teeth in for a lasting bite.

As Hallmark-esque as this Netflix rom-com might be, it offers the perfect combo for what you anticipate from a seasonal title. It delivers on a low-stakes love story between two people from different cultural backgrounds, allows for its main character to grow into her own and understand her worth, and gives viewers the opportunity to escape to Paris without leaving their couch.

It's a good adaptation that stays true to the source material, but Chapter 2 still falls short of adaptational greatness.

Alex Huston Fischer and Eleanor Wilson's romantic fantasy film is a delightful and silly tale that masquerades as a fable. Beneath the surface of its folklore-esque concept, Wicker is more an exploration of human connection, a criticism of the patriarchy, and a fun exploration of just how far one ridiculous concept can be taken.

Stiller & Meara: Nothing Is Lost isn’t just a loving tribute to the great comedy duo of Stiller & Meara; it’s also a beautiful look at how much our closest ones impact us both during their lives and after they're gone.

Tim Blake Nelson and Chloë Kerwin give life to Asleep in My Palm, helping to smooth over the narrative rough spots when it count.

It plays like a late-night serial killer special on a true crime channel. It's organic, unnerving, and proficiently grounded as a modern criminal nightmare.

The Rule of Jenny Pen has a lot going for it. Lithgow and Rush pull off strong performances, the escalation of tension is well-developed regarding the scenes taken as a whole, and the central conceit of the doll is used to strong effect.

The Fantastic: Four Steps successfully invigorates the MCU, but it’s the tectonic shift that audiences thought it would be.

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.

Director Nora Fingscheidt adapts Amy Liptrop’s memoir of the same name like a master conductor, melding the past and present expertly to create a staggering look at addiction through a magnificent performance by Ronan.

The Immortal Man, while obvious at times, also gives you everything you could want in a Peaky Blinders movie. There's angst, there's violence, there's sex, explosions, and swagger.

The Strangers might not be the kind of horror movie I’ll revisit time and time again, but it will stick with me, finding ways to freak me out with minimal resources.

There are gaps filled with nothing but silence; still, for a no-budget indie, it’s still constructed rather competently.

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

There is a lot that the movie does so right, which is why its various faux pas feel that much more disappointing, but this is far from an overall failure. It's a sign of great things to come from Williams and from The Horror Section.

In a land where truth is habitually stripped away in favor of political and religious control, Bread & Roses serves as a reminder of the bravery of those who sacrificed all for the love of their country and community.

The film memorializes André and keeps him from being forgotten — something he mentions multiple times throughout the film. Yet it also helps André come to terms with everything.

In the end, Splitsville is a lot of stupid fun told smartly, unafraid to lean into the salacious while still somehow maintaining an emotional groundedness.

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.