Rosemead is an absorbing and thoroughly heartbreaking movie that deals blow after grievous blow to its audience, and Lucy Liu is just astounding.

Kill Bill: The Whole Bloody Affair might not be Tarantino’s masterpiece, but it’s a brilliant example of a filmmaker with a deep-seated love of movies fully embracing his inspirations and passions in grand fashion.

This version of Merrily We Roll Along doesn’t fix every flaw in the material, but it doesn’t need to. What it does instead is honor how difficult, tender, and painfully human this story has always been, giving it the kind of intimacy that a lot of pro-shots never quite reach. For a musical that was once called a massive flop, it’s got a pretty satisfying second life — and one that’s very easy to roll along with.

Ultimately, My Secret Santa feels like one of the more forgettable Christmas movies of the year. It is not funny or wacky enough to appeal to kids the way Doubtfire does, and it isn't charming or thoughtful enough to appeal to adults.

Fackham Hall holds its own as the first of its kind — and carves out a brand-new niche in the satire landscape.

Where the first movie left fans satisfied with the bare minimum, and non-fans bewildered with boredom, the second installment will likely leave fans even happier and non-fans satisfied with a solidly entertaining robot slasher.

Michelle Pfeiffer is reason alone to watch 'Oh. What. Fun.' even if the film never fully reaches its potential.

It'll get your heart pumping from the very beginning, rarely giving you time to breathe, and boasts a lead performance from an actor who's truly in command of his greatness.

The thoroughly entertaining villains should have played more of a role, as should the store, and the material should have been more comedy-focused and delivered by actors with more of a knack for it. Once this heist was over, they could have spun it out into sequels, where each year a new operation got underway. It's a shame that this one falls so flat.

Sutherland truly is the star here, and he holds the movie in the palm of his hand. Between the self-deprecating humor and the 110% effort he puts into a silly British Christmas movie, he creates a really friendly and inviting vibe that just radiates off the screen.

Kotevska isn’t just telling a story of a farmer in a foreign land; she’s constructing a story that we can all relate to in our current world, in one of the finest documentaries you’ll see all year.

It's a colorful and delightful movie that delivers both thrills and heart. A fantastic follow-up to the original, Zootopia 2 swoops in right at the perfect time for the holidays as a perfect family movie to enjoy.

Riveting without ever feeling sensationalized and moving without being saccharine, Middletown is a captivating tale that combines elements of true crime and coming-of-age stories and proves, once again, that Moss and McBaine are two of the most talented documentarians working today.

There's nothing about The Family Plan 2 that particularly stands out aside from the European Christmas setting. Despite having a slightly different premise from the original, much of the film plays out like a sitcom. Yes, it's an improvement over the first movie, that's not saying much when your predecessor was already lackluster.

As Hallmark-esque as this Netflix rom-com might be, it offers the perfect combo for what you anticipate from a seasonal title. It delivers on a low-stakes love story between two people from different cultural backgrounds, allows for its main character to grow into her own and understand her worth, and gives viewers the opportunity to escape to Paris without leaving their couch.

Come See Me in the Good Light is a shattering, yet lovely documentary that’s easily one of the best of the year.

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.

A Very Jonas Christmas Movie is utterly enjoyable, giving fans a handful of new tracks to set the tone for the end-of-year festivities.

Maslany can effectively react to shadows and reflections, and Perkins can navigate this cabin to maximize its horror potential, but without the screenplay to back them up, this just becomes a curious experiment without much focus.

You won't forget Alan Ritchson. If he can make crap entertaining, imagine him in a comedic role with a much better script

Trap House is a fun enough time worth watching, but it traps its star and doesn't let him out.

The movie is full of trees, lights, snow, and all the aesthetic trimmings of a Christmas movie, but there's a coziness behind all the seasonal artifice that radiates from the screen, and that, surely, can only be down to the right combination of people having a whale of a time together.

The direction that The Carpenter's Son is charting is the right one, as there are some moments of genuine intrigue, and it's not always clear if the titular character is going to fall into the path of the dark side or take on a more noble path. However, Cage's supporting role and the rest of the movie's more meandering moments and subplots, including a rushed ending, prevent it from being heralded as the enduring cult classic that a lot of Cage's other recent hits have become.

All of Wright's movies only get better and better on every rewatch, given the immense attention to detail, and revisits of The Running Man will undoubtedly garner more appreciation for a movie that's already one of the most crowd-pleasing pictures of the year.

Altogether, a lot works about Now You See Me: Now You Don't. It's a lot of fun, with a dangerous new foe and big, great-looking tricks. The new cast members are all stellar, have an engaging dynamic with the original team, and everyone gets a stand-out hero moment (a must for an ensemble this size). On the other hand, the script feels perpetually rushed.

It's flat characters on an unfinished stage, rehearsing a bad script, with no weight behind any of the odd choices and filming techniques. It wants to be a movie, but it doesn't know how. Just stay on your horse and ride past this one.

Miroirs No. 3 is enthralling from beginning to end, a smart, often heartbreaking story that thrives in its simplicity.

I Wish You All The Best is a triumph on everybody's part.