Despite the harrowing predicament Jane and Adam find themselves in, If You Were the Last is a rom-com. Not only that, it's a good one -- a 90-minute charmer that eschews realistic FX work (the space shuttle itself and the planets outside its windows look to be made out of cardboard and papier-mâché) in favor of putting two actors with fantastic chemistry together in a tight space and letting the sparks fly.

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 film's animation is charming, with a quirky, storybook quality to the whole thing that helps the tale feel timeless, even when mentions of the not-so-distant war conjure up images familiar to older audiences.

Even though it is a fairly straightforward, surface-level doc at times, A Disturbance in the Force is a worthwhile look at accepting the flaws of the past, the media of the 1970s, and a period when the biggest franchise in the world could do some weird-ass shit that would still (mostly) be embraced by the fans.

It’s clear that Boston Strangler so desperately wanted to copy the recipe for Zodiac and bought all the same ingredients.

Beyond the clichés and the added elements to try and boost the drama, Tetris at its core works because the true story is inherently an interesting one, and when the film sticks to these details, it's at its best. Like a difficult game of Tetris, this film might fumble some of its pieces, but in the end, it's ultimately a satisfying experience.

There is potential within the Shazam! films that have never quite been met. Especially with this latest installment, this often feels like DC’s attempt at having a Spider-Man-esque character in their roster, and if you squint, you can almost see that possibility.

John Wick: Chapter 4 is a goofy, ridiculous, three-hours of fun that manages to not overstay its welcome. Stahelski continues to find ways to keep this series from getting stale, and Chapter 4 pushes the ambition to the brink.

Moving On is yet another tour de force for Jane Fonda and Lily Tomlin, who once again prove that they are a force to be reckoned with.

Though there are movies that are worse than 65, it is part of a select few that manage to utterly and completely squander their own potential.

It finds just the right combination of nostalgia and fresh blood, telling a story that manages to feel familiar in its winks at the past, but breaking with tradition in ways that are exciting and new for this series. Scream VI might be a sequel to a requel, but this franchise still finds new ways to feel original in its approach to this world.

It’s that heart that makes Champions better than expected, a shaggy underdog story that might be a bit overlong and a bit awkward in places, but with charming characters that help smooth out these rough edges. In doing so, Bobby Farrelly sticks to his comedic sensibilities, creating an endearing comedy that doesn’t need to break from the formula of similar films that have come before.

While Unicorn Wars' rhythm can be uneven, the movie is still a brilliant anti-war story elevated by Vazquez’s mesmerizing art direction.

Despite being a bit tonally uneven, A Little White Lie is a lovable indie dramedy led by the always delightful Michael Shannon and Kate Hudson that is worth bookmarking.

Those willing to overcome its lack of coherence will be rewarded with a wacky story that only genre cinema can offer.

If viewers manage to sync with this specific wavelength, they will definitely enjoy Sen’s methodical noir deconstruction. Still, it might be asking too much from the audience, especially where there’s so little payoff to be found in this corner of the Australian outback.

Shinkai uses magnificent landscapes as the background of a story about love, trauma, and finding out who you are. There's much to love about Suzume, and more than enough for us to be excited about whatever the filmmaker comes up with next.

Hello Dankness uses a specific language that might alienate part of the public. But any attempt to make the movie more accessible would diminish the mesmerizing effect of watching a feature-length meme.

The final scene all the way up to the last line hits like a truck. It leaves wreckage in its wake as the psychological and emotional scars linger for us as an audience just as they do for its central character caught in the grasp of a cruel world.

The cast as a whole never gels together like you'd want in a big team-based spy film like this, maybe because they spend so much time in separate locations talking to each other through earpieces.

As well-intentioned as the new Children of the Corn might be, it misses the mark by mixing a confusing ecological message with bland scares, forgetting what makes King’s story so enticing in the first place.

The shocking images of Superpower can move us, but the movie ends up being nothing more than a piece of propaganda. Even worse, the documentary is a wasted opportunity to give a proper voice to the people who still live and fight in Ukraine. Instead, Superpower seems more concerned about contributing to the mystification of Zelensky and the image of Penn as a lonesome and brave hero.

Sure, Afire's message of the inevitability of death and the absolute need to embrace life can be a little on the nose. Still, Petzold puts his own spin on the old message, by inviting the audience to laugh and cry as four lives get intertwined in a very honest and human way.

Though Bruiser doesn’t provide any easy resolutions, it's a beautifully shot work that grapples with fatherhood, masculinity, and growing up that emerges as a fittingly flawed cinematic gem.

An Cailín Ciúin is one of the most masterful meditations on childhood, family, and love.

The movie is one of those films that beautifully encapsulates life experiences, but breaks your heart in a way that you don’t immediately want to revisit it.

The biggest drawback to making this story a sequel film rather than a revival season is the part where The Fallen Sun doesn't seem to have enough time to develop all of its elements, leaving many plot components either half-baked or barely established before the story demands its characters move on.

Creed III honors the past while looking forward to the future, and gives Jordan—both the actor and the director—the spotlight in a way that shows his immense talents.