The Friend's heart is in the right place, but it can't get out of its own way.

Love Me has its flaws. But the cast is endearing, the robots are cute, and if you enjoy a romance movie, you won't be disappointed in this.

Kiss of the Spider Woman is yet another decent adaptation, but even Condon's visual panache and scale can’t quite elevate this story to greatness.

As entertaining as Until Dawn is, it’s fairly light in most regards, other than the kills. While the characters in the game had more time to have intricate connections to one another, these five are fairly one-note.

In spite of its faults, Vanessa Caswill's latest directorial effort offers a pair worth rooting for and winning romantic leads, proving that Monroe and Withers have what it takes to captivate audiences in a genre that they haven't previously been linked to.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.

It features terrific performances from Roberts and Garfield, but even they are not enough to save the film from being too muddled and morally ambiguous for its own good.

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.

Spaceman is a rocky journey, but in times like these and thanks to Sandler’s performance, it’s often worth the trip.

The Choral offers a unique look at WWI, while struggling to maintain balance between its compelling lead and somewhat lackluster storytelling with its other subplots.

While All of You features powerhouse performances from Brett Goldstein and Imogen Poots and some sharp, witty writing from Bridges and Goldstein himself, the film aims high but lacks clear stakes, making this love story difficult to invest in, with underwhelming sci-fi further muddling the heartrending, but ultimately unfulfilling romance.

While G20 doesn’t always rise to meet Davis at her level, it’s a performance that elevates even the weakest beats, giving audiences a satisfying, if uneven, ride.

There are more misses than connections in the third act, and for its title, it's never really vicious enough despite the blood and gore to come. Still, it'll keep you on your toes as it's cutting off someone else's.

This movie wants to get in, get the job done without complication, and get out before it overstays its welcome. On that front, The Rip is solid enough to earn a mild recommendation.

With beautiful visuals, an interesting plot, and a middle that some might even say makes up for its beginning and ending, Grafted is worth watching and Sasha Rainbow is a horror filmmaker to keep an eye on.

The film does show that Gomes is capable of making an authentic period piece and a stunning documentary, but the attempt of trying to do both at the same time has led to an unusual experiment that will leave one scratching their head.

Like the title character himself, Jay Kelly is a film that has good intentions, but doesn’t have the follow-through to make good on those promises.

With heartfelt and emotional performances by the cast, See You When I See You is a stirring tale about survivor's guilt, grief, and reconnecting in the wake of tragedy. Though the film hits on all emotional notes, there's one crucial setback that holds back an otherwise moving story.

If a movie is going to give us a man reuniting with his dad and them coming to love each other, then it needs to give them the freedom to really hash it out and explore the consequences of their estrangement. Looking Through Water only skims the surface.

Beyond the ‘90s references, Y2K is an underwhelming, but mostly entertaining movie that never quite goes as far as it should with its concept, comedy, or the relationships between its characters.

Laxe is aiming to shock the audience, and in that, he succeeds, but the final product suffers as a result.

It’s never as deep as it thinks it is (or has the potential to be), but as long as you go in simply wanting a nasty, gorgeous, unhinged ride, you’ll leave the rollercoaster satisfied — and probably a little nauseous, too.

There are successful elements in the script, certainly, but there are also several frustrating moments that simply needed another draft to work the knots out. All that said, it's a successful foray into sci-fi territory thanks to a willingness to stretch the subgenre's established rules, making for a fun murder mystery that keeps audiences guessing.

The Luckiest Man in America is a strong story when it sticks to the facts, and Hauser is undeniably an excellent choice for this role, but the film really presses its luck by taking such huge liberties with the facts.

Holder's wayward romantic indie chases meaning through quiet reflections that navigate hardship somewhat cleanly. While it's a delightful representation of Brooklyn's playground, scenes flow through motions like a wandering observer.

As a ridiculous tale of a celebrity trying to make himself matter, Sacrifice is quite a bit of fun, but any attempt to make a larger point falls flat, just like so many films before it.

Even with striking visuals that offer compelling depth and beauty to Minahan’s overall look, the film’s inability to keep a consistent pace and tone, or even establish its primary focus through its leads undercuts its biggest, most poignant messages.

Is The Mandalorian and Grogu the worst Star Wars film ever made? Far from it, as there is much fun to be had here. Is it the best in the franchise? Also not the case, as it could very well be the most forgettable and inconsequential entry the franchise has produced yet.