It’s the refreshingly modern and tender depiction of intimacy and pleasure that will stay with me. After years upon years of sex scenes that are steeped in the male gaze or are shoehorned in to attract the money of horny youngsters who have no real interest in the story, it’s about time we treat sex with the tenderness, openness, and grace that it deserves on film — and this is exactly what Lady Chatterley’s Lover does.

Charles Laughton hams it up wonderfully in a villainous role, and Jamaica Inn is enough of an oddity to make it strangely engaging throughout much of its runtime.

Cronenberg still is one of the most intriguing horror filmmakers working today, and when Infinity Pool is working, it's unlike anything that you've ever seen. But when comparing Cronenberg's approaches in this to something like Possessor, it becomes clear that it's better when there's a method to Cronenberg’s madness.

While the free-flowing structure of Spin Me Round works in bits and pieces, there’s very little overall purpose to the narrative Baena and Brie have crafted here.

While it is important for the film to immerse itself in the emotional struggles of the scenes, it also is hindered by some occasionally abrupt edits and anarchic writing that dulls the sharpness of its story.

It is by no means a perfectly constructed work, but there is something more immense in its thematic aspiration that provides plenty for Pugh to play around with. All that makes it unwieldy also makes The Wonder mesmerizing so that, even when the spell is broken, you can’t shake it from your mind.

For all its many structural flaws that could doom a lesser work, it manages to break free when it counts. Though Hunt won’t become a paragon of action cinema, the moments where it lets loose still pack plenty of potent hits.

Down Low is an ambitious journey through sex work, repressed sexuality, accidental murder, the fragility of life, and an oddly tender exploration of the age-old question: can you still be a good person if you do bad things?

The key to what makes this newest retelling work is the combination of Ferrell and Reynolds, both of whom are able to play to their comedic strengths, while also having the opportunity to do some solid dramatic work as well. This duo is delightful, and as they work together on Christmas Eve, it’s wonderful to watch how this relationship shifts.

Theater of Thought could've easily become a straightforward documentary about the evolution of thought and the fascinating science behind our brains, yet in the hands of Herzog, this topic becomes far more entertaining, as he approaches the topic with a wide-eyed wonder that lets this subject go down smooth.

80 for Brady is not the new golden standard of sports comedies, but it was clearly never trying to be. It's cute, silly, and light, all things that a comfort movie should be.

With Phyllis Nagy at the helm, Call Jane had all the potential in the world to be something revolutionary, but it ultimately chose to take the path of least resistance. It leans into a very glossy feel-good “girl power” energy, ensuring that its audience never once feels true discomfort when discussing uncomfortable truths.

Like so many of Frears’ films, The Lost King works because of the compelling cast on hand.

Schrader is able to prune back some of his more established impulses to service this particular story.

There’s no sugarcoating Cobweb’s flaws, from pacing to convoluted editing. Yet, the movie does have the potential to become a crowd-pleaser, as it does deliver the scares. It might not be a particularly memorable horror film, but it’s still entertaining, and sometimes that’s all the reason we need to go to theaters.

Don’t Worry Darling is best as a surface-level matinée thriller with a few follow-up ahas. But it doesn’t sting like it should in the end.

In the end, the movie is about a delusional guy who doesn't realize he's been indoctrinated, but it is also an emotional exploration of loyalty, camaraderie, and stubbornness.

Terrifier 2 is best when it does what we are here to see: big, bloody murder. But the attempt at a story is just atrocious. Terrifier 2 tries to be bigger and better than its predecessor when really, we just wanted more of the same.

Confess, Fletch is decent—not quite a great mystery, not an excellent comedy, but fully enjoyable for what it is. A major part of that is Hamm’s ability to play up his charms, while also showing his gifts as a comedic actor.

Dark Glasses is no Suspiria or Tenebrae, but it’s also no Dracula 3D. It’s a fine movie, and sometimes, that is all you can ask for.

There's a fascinating world to explore here, and Ant-Man finally gets close to the full realization of the potential of his character and this concept, but it all, unfortunately, gets overtaken by the Conquerer. Quantumania is a promising, but shaky start for Phase 5 of the Marvel Cinematic Universe, it's just a shame it comes at the sake of the little guy.

But even though Fast X is spread too thin, and we’re starting to see the consequences of this ever-expanding family, it’s still a blast to watch.

There's no question that it carries all the hallmarks of a low-budget Corman effort. That being said, there is the feeling in Dementia 13 that there's a filmmaker behind the camera that really cares about the story at hand.

Despite its flaws, Mr. Harrigan’s Phone remains a careful adaptation of one of King’s most touching stories to date. And while there are not many frights in this horror movie, it remains a solid entry of Netflix’s enviable collection of King’s adaptations.

I think this would be best enjoyed by someone who had never seen the original 1984 film; that way, you won’t be constantly comparing the two in your head.

The 2008 remake of Easy Virtue starring Jessica Biel and Colin Firth, is a lot livelier and more entertaining, but the original is worth watching, particularly to note the difference in the portrayal of the female lead character.

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.

Even if Smiling Georgia could trim some minutes from its already short 62-minute runtime, the documentary is still fun and poignant enough to get us smiling in the end.