Longlegs takes a bit to get us settled into its brand of horror, but once it does, it’s hard not to be impressed by the place between here and there where we find ourselves.

On balance, Twisters is nonetheless a thrilling crowd-pleaser that takes the disaster picture in exciting, novel directions, and an excellent showcase of talent across the board.

At its core, Fly Me To The Moon is a thoroughly enjoyable, memorably novel rom-com that regularly surprises in a genre that often doesn’t, and we're all better for it.

Despicable Me 4 understands its appeal and plays to its strengths. With fun details, vibrant animation, and strong comedic energy, it is a delightful and entertaining addition to the franchise, offering enough laughs and heartwarming moments to satisfy both longtime fans and newcomers alike.

Despite its best efforts, Space Cadet never reaches its potential as a comedy or an aspirational tale. Instead, the movie gets lost in the realm of forgettable, lukewarm rom-coms, having lofty aspirations but, unlike its lead character, remaining firmly on the ground.

Beverly Hills Cop: Axel ' perfectly recaptures the joy of the original two films and is powered by a joyful Eddie Murphy.

Polished off by a vibrant cast, Annick Blanc’s feature debut is an impressive feat and a refreshing and minimal twist on the “eat the rich” trend in Hollywood.

Chestnut is an effective and enjoyable if rather simple and slight coming-of-age movie about a unique time in a person’s life that few filmmakers have chosen to focus on.

The film has one mode, and it's never coy about its intentions to pry tears from your ducts as often as possible. If you're in the mood for a Shakespearean J-drama about mortality, stock up on hankies and let 'er rip.

Kill is every bit as insanely violent as you could hope for. It mixes melodrama, romance, and an aggressive amount of violence in ways that few filmmakers are capable of doing.

For the most part, Kalki 2898 AD is a strong epic that's certainly worth visiting, thanks to a unique genre hybridization, interesting worldbuilding, and skilled performances.

The Devil's Bath is as bleak and hopeless as it gets, but if you give it a chance, it will change you.

If you’re willing to take the plunge, it’s a haunting experience. Whether you come up for air or retreat back into the woods, well, that’s another thing entirely.

As the film attempts to weave itself into a screwball comedy, it unexpectedly bobs into a weak character study, skewing situations and characters while never quite touching the ground or giving us reason to care.

Led by brilliant performances all around with a simple but effective story, A Quiet Place: Day One may not be the most horrifying alien film, but it stands apart from its predecessors while staying true to why so many people love this franchise.

Daddio is a repetitive and reductive experiment in dialogue-driven storytelling.

Sure, the story isn’t groundbreaking, but it makes up for it in its tribute to why we love cinema, specifically horror, so much. Even though it wasn’t needed, MaXXXine secures Ti West’s trilogy as one of the best in horror history.

Please don’t misinterpret this scathing review as an encouraging push to check out what could be a ridiculously flawed watch with friends. Agent Recon is unwatchable and doesn’t deserve your patronage.

I Am: Celine Dion is a piercing portrayal that doesn't shy away from making audiences feel like a fly on the wall

In the end, All That We Love is a film about permission: permission to grieve in our own way, to allow others to do the same, and to know that we are still worthy of acceptance, even in our less-than-perfect moments.

In Trigger Warning, there's nowhere for Alba to go — no notable battles to fight, nor an interesting war to win. And what we're left with is just another disposable action movie, dropped indiscriminately on a streaming service to sit among all the others.

A fun concept does not automatically mean a quality film, as the overly intense direction, hollow scares, and imbalance of tone make it a thrown-together mess.

It’s like a good theatrical production. It’s often charming and more than a little chaotic.

Reverse the Curse calls its shot with confidence but doesn’t possess the fundamentals to bomb a home run, barely getting on base with this out-of-synch heartwarmer that’s icy to the touch.

This is the kind of film that has the power to change minds, hearts, and lives.

You get wrapped up in the whimsy of it all just before it all hits you like a truck, finding plenty of resonant emotional flashbacks that contextualize and deepen the experience just in time for the conclusion.

The film does pull out all the stops for the finale but, for nearly every moment it stands tall in this conclusion, it also stumbles and falls in the getting there.

Despite a strong central performance from Sasha Luss, Latency works against its own concept and falls into cliché thriller tropes.