A fun, high-octane action movie about a chase against time through a fascinating city.

There is a simplistic charm to the movie that captures the strange in-between times of the early 2000s.

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.

With a limited budget and a lot of dedication to the craft, the project is able to build on its references to thrillers from the '70s and '80s while finding its own footing.

Ultimately, Wicked Little Letters is a delightful comedy worth writing home about (just be sure to watch your language when you do).

That being said, if you are part of that target demographic, Spinal Tap II: The End Continues has a lot to enjoy. That's especially true when the film shows off a few surprisingly heartwarming moments, which were definitely not as prevalent in the original story.

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.

Cold Storage is a far better movie than you'd expect, thanks to its clever script, committed cast, and energetic direction. If you are hankering to watch more of Joe Keery battling monsters in the wake of the Stranger Things finale, this is just what the doctor ordered.

Despite not ending on its strongest note, Daughters is still a highly effective documentary overall. Working with subjects this young and topics this sensitive can be challenging, and you always run the risk of feeling exploitative, but Daughters handles both with compassion and care.

Sutherland truly is the star here, and he holds the movie in the palm of his hand. Between the self-deprecating humor and the 110% effort he puts into a silly British Christmas movie, he creates a really friendly and inviting vibe that just radiates off the screen.

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.