Overall, Teen Wolf: The Movie packs a heavy punch and stands tall in the original series' six-season shadow. The film pulls on threads that have always resonated well with its loyal viewer base and continues the story of these treasured characters forward in a truly authentic way.

Director Brad Anderson’s Blood is one of the rare vampire movies to focus entirely on the subject of drug addiction, which could make it a refreshing entry to the subgenre. Unfortunately, Blood’s script leans too heavily on tropes. Besides that, Anderson’s competent direction cannot help with Blood’s mixed messages about drug addiction and an ultimately unlikable protagonist.

If anyone could’ve updated this story for 2023, it’s Barris—as he's shown with black-ish. But instead, You People is a missed opportunity, a half-assed reinterpretation that is only sporadically funny, and without the heart or the substance that this story would need for it to truly work.

It is almost like a novel in how expansive it is, providing a sense of scope that can frequently leave this story feeling scattered. As the city is in a constant state of change, the lives of the characters are similarly in flux as their already pressing problems only become more and more dire.

When all the echoes which Jackson delicately explores come into harmony, All Dirt Roads Taste of Salt strikes a resonant chord that will be heard for time eternal.

Chumbawamba was clearly a band that wanted to do great things and fell short of that goal, and similarly, I Get Knocked Down is a curious concept to explore, but gets bogged down in its apparent attempts to be weird for the sake of being weird.

At its very core, Knock at the Cabin works because it reminds of the early days of Shyamalan, when he felt like the next coming of Alfred Hitchcock, and his films would leave the audience talking for days after.

A descent into darkness that will swallow you whole, In My Mother’s Skin is a beautiful and brutal work of historical horror with visuals that will echo through your mind.

Whether you can stomach it enough to make it all the way will depend on the viewer, but Talk To Me has plenty that promises to capture the souls of horror sickos looking for a sinister spectacle.

We are left with a shattering sequence of bittersweet joy crossed with sadness that serves as a testament to the power cinema has to linger forever in our memories.

When Jones and McNairy are playing off each other, Fairyland really finds the beauty of this story. Especially in the third act, as this relationship becomes more difficult and uncertain, both present themselves as people who struggle with the balance of doing what's right for themselves and doing what's right for each other.

If only All Jacked Up and Full of Worms had a script capable of bridging the gaps between its most inspired moments, it could be praised as a refreshing experiment of shock cinema.

The Starling Girl is steeped with empathy, not just for Jem, but for every young woman, religious or not, who struggles to know herself and gives in to the desire to be seen, no matter the voyeur — just to feel alive, and like they matter.

Sarandon, Keaton, Gere, Macy, Roberts, and Bracey, elevate the script with a charm that feels entirely natural, and they make these characters shine.

Polite Society proves to be a triumphant action comedy with wonderful characters you only wish you could get to know even more.

The Pod Generation ends with a thud, leaving the audience to question what the purpose of this endeavor even was.

While Snook does all she can to give the experience some heft, Run Rabbit Run is a horror film in search of something greater others have already achieved that it is never able to find.

Magazine Dreams is a difficult and challenging watch, bolstered by an incredible performance by Majors that could easily end up being one of the year's best.

Still: A Michael J. Fox Movie can be a bit standard as far as biographical documentaries go, but when the subject is someone as much to watch as Fox is, it’s hard to care too much about the form when the content is so captivating.

Alice, Darling is a bold and powerful step forward in Anna Kendrick’s career that allows her to really show off the range we knew she had, but maybe hasn’t had a chance to fully explore yet.

With The Son, Zeller is trying to bring the same sincerity he brought to The Father into his second film, and instead, The Son unfortunately feels false throughout.

Sometimes I Think About Dying is a dark comedy of restraint and quiet, but that silence holds an incredible amount of power and emotion. Ridley gives what might be her best performance, and Lambert knows exactly how to balance the delicate mood of the film.

Cronenberg still is one of the most intriguing horror filmmakers working today, and when Infinity Pool is working, it's unlike anything that you've ever seen. But when comparing Cronenberg's approaches in this to something like Possessor, it becomes clear that it's better when there's a method to Cronenberg’s madness.

There's Something Wrong With the Children is fine as it is for a casual watch, but it’s painful to watch such a talented cast trying to salvage a bland horror film that had so much potential to be unforgettable.

The movie is as sloppy as a horror movie can be, but that also contributes to its charm. The only major downside of the experience is a drag of a first act, that’ll most certainly scare away impatient horror fans, and with good reason.

Harmonizing romance with comedy and a lot of enjoyable action, Shotgun Wedding still lands on its feet amid some bumpiness and delivers precisely what it needs to make this a fun, feel-good entry for 2023.

Jethica feels like the middle act of a much more compelling film and is a rare example of a film that could have done with a smidge more exposition. If this were a proof-of-concept I would love to see a much deeper, broader look at this story.

The Seven Faces of Jane is a curious experiment, but ultimately, a failed one.