Told from the perspective of a “presence” in a house, Soderbergh explores this type of horror story in a way that only he can, playing with the structure of similar films, screwing with our expectations for this type of film, and once more, testing himself while showing the untapped potential in the genre.

Despite solid directing, effects, and production design at various points, The Kitchen doesn't explore its futuristic dystopia nearly as profoundly as it could.

Ultimately, Freaky Tales works if you don't look too hard at it. It's a fun time and some of the most extreme scenes will make you forget any plot holes or inconsistencies.

I Saw the TV Glow is bold, unhinged, extremely unusual, and also kind of magnificent—a daring step forward for Schoenbrun as a filmmaker, and a film that will certainly divide audiences not sure what the hell to make of it.

Cinema as an art form is made infinitely richer via films like Inside the Yellow Cocoon Shell. As we let it linger in our minds just as the camera does up until one final unbroken shot, you drift somewhere you've never been before and may never be again.

Fans of space-based thrillers may get enough out of the movie to be moderately entertained, but anyone else intrigued by the idea of six astronauts floating above a world that may have blown itself to hell is likely going to find themselves disappointed by the fact that I.S.S. barely takes the time to reckon with the unimaginable horror that should have been dawning on these characters.

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.

The Settlers' is a beautiful yet brutal look at historical violence and the lasting impact it has on all who come into contact with it.

At the end of the journey, Lift ends up as a double disappointment. It doesn’t work as a comedy, it doesn’t work as an action film, and its claim to the heist movie subgenre is tenuous at best.

It's an action movie with plot beats that might make certain audience members raise their eyebrows and scoff, but it will have Statham devotees smiling, laughing, and cheering in their seats.

The fate of fetch may be up in the air, but Mean Girls as a musical movie? That's clearly not going to happen.

Race for Glory: Audi vs. Lancia is a compelling and rewatchable film though it feels as though some elements have been cut out.

Without Winter in the frame, it lacks direction and oomph, leading the Lost Boys star to carry everything on his foam latex-covered shoulders.

While it’s a cozy and enjoyable enough watch with decent performances, Good Grief is too middling to be memorable, sticking to an overly sentimental tone despite its best moments having more edge and bite to them.

Night Swim is a missed opportunity of epic proportions, and it’s yet another in a streak of Blumhouse projects failing to bring anything new to the horror genre.

There’s no other word than mesmerizing for what Leonie Benesch accomplishes here in The Teachers’ Lounge.

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.

With Aquaman and the Lost Kingdom, we get the best and worst of the DCEU, but also a reminder that there’s still hope for these characters, with a bit more focus, and a reminder of what works and what doesn’t with this world.

Migration embraces a rather touching and family-oriented narrative to weave an energetic tale of humor and sincerity.

As we’ve seen from Arrested Development and Succession, rich people belittling each other over their petty grievances as they lust for real power is incredibly entertaining, but House of Gucci never seems entirely sure how seriously it should take its characters. It should have just followed Leto’s lead and been a blast.

Despite its flaws, Bazawule’s strength behind the camera and an incredible cast down the line make The Color Purple a worthy adaptation.

For a film that originally was thought of as a subversion of the Star Wars franchise, Rebel Moon - Part One: A Child of Fire feels pretty similar to an installment of it.

It gradually starts to shift into something more comprehensively striking and somber the longer you sit with it.

For being based on such a memorable story, it's incredible how forgettable The Boys in the Boat is. Clooney's direction is so empty and the writing so trite that it leaves the committed cast stranded out on the water with nowhere meaningful to go.

There's a sweetness buried deep inside The Family Plan, but it gets completely smothered beneath all the jarring and poorly cut action and weird subplots that lead nowhere. Outside a few chuckles and a likable cast, there's nothing that makes it stand out.

The style, tone, heart, and comedy of Aardman deserve better than Dawn of the Nugget’s formulaic story which doesn’t hold a candle to the original.

The Iron Claw succumbs to the powerful blows of biopic movie standards, there’s no denying it. But its most insightful qualities rooted in the dissonance between the persona of the Von Erichs and their psychological struggles ensure it scores plenty of cinematic KO’s.

For all the ways a four-hour experience may seem daunting, every facet of the film is necessary to understand all of this world and the people that populate it.