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

For a director like Howard, whose work can sometimes be a bit too sterile, Eden is a curious experiment in search of a purpose.

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.

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

Thurman’s scenes only get better when she’s paired with Jackson. The duo handles their dialogue like a walk in the park, and you can tell that The Kill Room tries to make the most of it.

The pacing is brisk without once overstaying its welcome, it has an ultra-charismatic lead, plus boasts all the violence, chaos, and melodrama one could want out of this particular movie.

While the title promises fire, the only riddle remaining is where the adventure it was searching for ended up disappearing to.

Borderline is a prime example of how a really great cast can elevate rather frail material.

There’s no way to hide the lack of substance in We Bought a Zoo, making it hard to justify returning to this decade-old film.

Young Werther isn't a terrible movie by any stretch, but it also feels like it relies far too heavily on your typical romantic-comedy clichés for it to stick out. It's a shame, as Booth and Pill are insanely sweet together, but the execution ultimately feels too unremarkable to be memorable.

It is a fun romp, one that is sure to entertain audiences.

Wicked: For Good is not only a loyal adaptation, but it builds on what works from the first film while leaning into its lead performances. The characters are more mature and nuanced, making it a worthy successor to the first film. It doesn't surpass Wicked, but as a double feature, these two movies do justice to one of the best musicals ever, and that's not an easy feat to accomplish.

Narratives about identity are important, but Elemental lacks the delicate nuance needed to tell these stories.

If you need a big, dumb action movie with two buff guys to kick back and down some beers while watching, you are in luck.

Jeymes Samuel is a master of all trades who can craft character-driven arcs with fun action-packed sequences all against a beautiful score. No actor misses a beat and it confirms LaKeith Stanfield remains not just a brilliant actor but a true movie star.

What saves this movie is Taylor-Joy and Teller. Though their in-person scenes aren't nearly as endearing as their scenes with each other across the gorge, the two do have great chemistry. They're interesting to watch together, especially during their action scenes.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.

Unafraid to lean into Isla's naivete, Rankin's performance playing off both O'Rourke and Gleeson is what places her at the center of this tale and makes it worth watching.

There are layers of complexity in both Wright’s performance and that of the late Williams which elevate the experience, making for a sturdy enough riff on the Western that still could have been so much more.

From a talented cast in Léa Seydoux, Louis Garrel, Vincent Lindon, and Raphaël Quenard to an initial willingness to be ruthless in tearing apart the messy art of moviemaking, it could have been something truly great. nstead, just when you think this movie about making movies is starting to get somewhere interesting, it reveals itself to be only a sporadically funny satire with a surprising lack of teeth.

Ezra is irresistibly charming, full of so much passion and care, and finds strength where similar films fall flat.

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.

Dicks: The Musical is a decidedly big swing and a genuinely weird take on the musical that has its moments, but also feels a bit stretched too thin given its concept.

A Road House movie shouldn’t be boring, especially this boring. A Road House movie shouldn’t have to enhance its fight choreography in post-production, nor should it be such a tonal mishmash. I guess Liman didn’t get the memo? His Road House remake is an uninspired chore that never properly unleashes Gyllenhaal or nails even the most basic functions of bar fight nostalgia porn.

For a horror-comedy, it's not funny, and it's not scary. It's a very strange amalgamation of little drops of each of these things, heavily diluted within what is largely a romantic drama, and as such, every time it tries to be funny or scary, it feels out of place and uncomfortable.

Pedro Páramo uses its supernatural language to inform the audience of the consequences of a collective wrongdoing. It is also remarkably efficient at communicating different storylines to the audience without making viewers get lost in the process.

Not only is director Benjamin Brewer’s Arcadian a good Nicolas Cage movie, but it’s one of the most fun cinematic experiences that he has been a part of in recent memory. It's a work of horror worth taking seriously even as things go gloriously off the rails.

It’s funny, bizarre, uncomfortable, and an absolute cringe-fest for all the best reasons.