The Tiger's Apprentice is a self-contained, satisfying story that will both entertain and tug at the audience's heartstrings.

Appofeniacs may not be packed to the brim with wacky action scenes and tense horror sequences, but when those moments do come along, they're executed with great finesse from behind the cameras.

Resurrection is a puzzlebox to be probed, a dream not simply to be decoded to provide a singular interpretation, but one to be enraptured as you are caught up in its fragmented logic, soothed by its smoke-filled spaces, and stunned by the myriad connections shared between its two central characters.

As a story that’s more about finding oneself than finding love, Lonely Planet is a thoughtful and heartfelt meditation on how identity and love are intertwined, and how the most unlikely connection with others can serve as a mirror to the best parts of ourselves we’ve been avoiding.

Brooks’ film could’ve come off as extremely silly, but instead, by balancing the tone in just the right ways, it all comes together beautifully.

Good Fortune is about love, redemption, and privilege, but it's also an indictment of exploitative labor and the forces that enable it, even if it takes many clumsy steps to get there. Its greatest strength is a reminder that being a good person doesn't get you a reward — being a good person is the reward.

In the end, Bayona’s film takes us right into the heart of this story with clear-eyed focus and the necessary technical craft to make it work.

Pitfall doesn't reinvent the wheel or drastically change the game, but it deserves credit for being a crowd-pleasing slasher.

Longlegs takes a bit to get us settled into its brand of horror, but once it does, it’s hard not to be impressed by the place between here and there where we find ourselves.

Like the family at the center of the film, Nutcrackers is rough around the edges, but it's lovable in a shaggy way.

The latest action-comedy from Black proves that he's still capable of delivering an equal parts funny and action-heavy comedy with all the trademarks that make us love him as a filmmaker.

It's a silly movie, make no mistake, but it's an endearingly one nonetheless.

Kung Fu Panda 4 is a film all about deciding to not do the easy thing of remaining stagnant and comfortable, but rather, trying something new and hopefully finding the greatness in the new opportunity. Kung Fu Panda 4 similarly does this, attempting a new approach to this world and mostly finding success, while also potentially setting up the future of where this series could go.

The two leads are so charming, the jokes are genuinely funny, and the kills are delightfully gorey.

By the end of Not Alone Anymore, it's clear that Matlin is far from a star who burned too bright once, and her light has not dimmed at all. If anything, she's been working steadily and surely and despite the years of solitude, thanks to her creating the path forward, she is not alone anymore and won't ever be again.

It could innovate more thoroughly and ground its antagonistic plot with stronger internal logic, but it's a solid action outing that's well worth any audience's time.

Even as it comes awfully close to overstaying its welcome just a bit, much like the spiders in the home of the characters, it very quickly grows on you.

Each subject is so rich and nuanced that any single one of them could carry the documentary as its sole focus.

It doesn’t deliver a knockout like some of Miike’s other films, but it still manages to beat all it has working against it into submission. One can only hope it manages to beat the odds again and find the audience it deserves.

While Ma’s script can feel broader than one might like when it comes to the core dynamic between Sara and Sumi, it thrives as a love story and character study and offers enough heartwarming moments of humor to make it well worth your while.

It sits in your chest like a cough you can’t get rid of, and there’s promise in its bones of what might come next for the Aussie directorial duo.

The Lost Bus may not reach the heights of some of Greengrass' finest work, but that's a high bar to reach. Thanks to some immersive setpieces, grounded performances, and stellar direction, the latest film from Apple TV+ rises above its shortcomings, resulting in a gripping docudrama that is worthy of your time.

Moana 2 explores the possibilities of this universe, and builds on the bond between Moana and Maui, but stays a bit too close to the original's formula.

It lacks the electricity of his past works but, as we come to see, the lifelessness of it all, is, in many regards, the point of the whole thing. It's about carrying on when nothing makes sense.

This third Avatar film might not have the groundbreaking impact of the first film, or the vast improvement that The Way of Water had over what came before it, but Fire and Ash is still an exceptional moviegoing experience that proves there’s still plenty of gas in this tank.

I’ll Be Right There is a light, breezy way to spend a little over an hour and a half filled with some genuinely funny gags, top-notch dialogue, and solid performances.

Meet the Barbarians provides a light yet engaging look into how communities are built and maintained, and how differing aspects of their identities can form something better when people of disparate backgrounds are brought together.

Despite its sometimes rocky editing and crowded ensemble, First Time Female Director does what it sets out to do: make you laugh and laugh hard.