Ballerina gets off to a shaky start that almost feels like it misunderstands what has made the John Wick series so much fun for so long. Yet once the absurdity of the action takes hold, and Ana de Armas gets to prove herself as a fitting potential heir to this franchise, Ballerina captures the blunt, chaotic action that this series thrives on.

It might not be a future genre classic, but thanks to Courtney's utmost commitment to his villainous role, you'll be glad you dipped your toes in the water by the time the credits roll.

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.

A Widow's Game sets out to be an intriguing portrayal of a high-profile case but doesn't really hit the mark.

It's not a perfect horror movie, but it has all the right ingredients and is such a great way for someone who enjoys the rougher things in life to spend 90 minutes.

Outside of a few creepy images, The Ritual is not even remotely scary.

Bold, effective, and brilliant in equal measure, Moll’s film is a fine policier in the grandest of traditions, joining a long line of noir-inflected French police dramas unafraid of being more than vehicles for action and retribution.

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.

The undeniable likability of Ben Wang keeps things from sinking, and the marvelous action sequences mark a strong start to Jonathan Entwistle's feature filmmaking career.

Although your mileage may vary when it comes to Honey Don't's tone, what's undeniable is that Qualley was made to play Honey. She's cool, slick, and wildly charismatic.

The Mastermind vascillates between wanting to lean into the thrills of a heist and falling back on Reichardt's tried-and-true formula. The result is a confusing mix of tones with a fairly basic concept that rarely dips below the surface.

If you come solely for the comedic stylings of four powerhouse actors, Mountainhead will certainly win you over if you don't take it too seriously. But should you expect a scathing takedown of Big Tech's best and brightest, the movie will act largely as a reminder that watching a bunch of rich guys spout off ignorant crap inevitably gets old and adds nothing to the conversation.

The New Boy is a movie about how colonization can disguise itself as kindness, and how that kindness is still violent and destructive.

It's not breaking any new ground, but Prom Queen is a solid enough teen slasher that does a nice job of continuing the ever-expanding universe of R.L. Stine.

Artfully combining song, romance, and unique settings, Oliver Hermanus offers a heartbreaking and emotional film that reminds us not only of the enduring nature of love but also the power of sound and song.

Trier's understanding of complex family relationships and his ability to portray them honestly make this yet another win for him and a solid entry into his filmography.

It's a film that you start desperately wanting to like, perhaps because it deceives you into believing it is something other than a violent power fantasy. As the film comes to a close, all that is left is a sour taste in your mouth.

It's a perfectly watchable movie that feels designed to keep you entertained for two hours on a rainy Sunday afternoon.

An unrelenting and visceral experience, Julia Max's feature film debut boasts unique and enthralling horror that is more than worthy of haunting your screen.

Despite beautiful shots and strong performances in the film, what ultimately comes up lacking is the story.

In the end, Splitsville is a lot of stupid fun told smartly, unafraid to lean into the salacious while still somehow maintaining an emotional groundedness.

Eagles of the Republic's greatest strength lies in Fares Fares, who is all too convincing as a superstar actor in Egypt, striking a delicate balance between his comedic scenes and dramatic ones

Lilo & Stitch feels like it was made by a boardroom of folks who wanted to sell more Stitch merchandise. Chris Sanders and Maia Kealoha have enough charm to keep families entertained, but it's also hard to deny that these two characters are just as, if not more, endearing in a film you can watch right now on Disney+.

While it's far from Lee's best, Highest 2 Lowest is an entertaining watch, and for lovers of Denzel Washington, it's a must-see.

Moving, emotional, and ultimately cathartic, Renoir is a quiet and stirring coming-of-age story that reminds us of our own childhood and the impactful time that can be.

Ducournau's story is brilliant, but without the leading actors of the film, the movie wouldn't have been nearly as impressive.

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

With a phenomenal performance from Frank Dillane and a thoughtful, open approach to those who lose their way in life, Urchin is a worthy contribution to the cinematic portfolio of British realism.