With Phyllis Nagy at the helm, Call Jane had all the potential in the world to be something revolutionary, but it ultimately chose to take the path of least resistance. It leans into a very glossy feel-good “girl power” energy, ensuring that its audience never once feels true discomfort when discussing uncomfortable truths.

Enola Holmes 2 is tightly paced, leaving just enough breathing room for the characters to thrive and do what they do best. It is a film with a lot of moving parts, but not so many that the audience will lose track, and in that way, is a film deserving of a rewatch — or several.

While it takes a while to get there after dancing around its premise, when Run Sweetheart Run hits its stride it is more than worth running along with it.

More often than not, we can ignore the message if we’d like and just enjoy a scary movie. Prey for the Devil, however, seems to have been developed as deliberate propaganda.

The Good Nurse is a shocking drama that seeps under your skin with its ferocity and terror. Yet Lindholm makes this story about a disturbing individual into a film about how important kindness and consideration for others can mean in the larger scheme of things.

An immensely enjoyable treat, The Pez Outlaw is cleverly filmed with the highlight being Glew playing himself and seemingly having the time of his life. With references to Citizen Kane and Charlie and the Chocolate Factory, the whimsy is part of the effortless charm of the doc, and Steve and Kathy bring the heart.

What makes The Stranger work is how this all creates an experience that feels as though the two men have become almost doomed to a life where they will aimlessly wander in what feels like an Australian purgatory. Whether they ever manage to escape and uncover some sort of closure is irrelevant to the growing rot that threatens to consume their souls no matter what they do.

Even if you’re not a fan of the music of Tucker or Carlile, The Return of Tanya Tucker: Featuring Brandi Carlile will have you hoping for the best for both of these incredible musicians.

Rosaline's shows its strengths when it focuses on the parallel story of Rosaline and Dario, but when the narrative crosses paths directly with Shakespeare’s story, Rosaline starts to fall apart, becoming a muddled mess of modern references, unusual characterizations, and ideas that don’t mix as well as they should.

V/H/S/99 still echoes some of the issues most anthologies face, as the rhythm of the movie depends on the pacing of each story. And at a 108 minutes runtime, V/H/S/99 might test the patience of some viewers. Still, this is the best the franchise ever gave us.

War is hell and for a little over two and a half hours, All Quiet on the Western Front displays its ghastly horrors without ever venturing into voyeuristic consumption, opting instead to unsettle its audience with bleak realities and sobering truths.

To see Clooney and Roberts team up again when they have demonstrated in the past (the Oceans movies and Money Monster) that they go together like rum and coke is a lot of fun, but it also makes it undeniably noticeable that they deserve better. I don't mean an Oscar-worthy dramatic biopic. But a rom-com with some nuance and wit.

Black Adam isn’t a full-on course correction for the DCEU, but it is an encouraging new installment in this larger universe. Collet-Serra knows how to present this darkness and antihero in a way that’s effective, while also fleshing out one of the most promising additions to DC’s ever-expanding cadre of characters.

Till will go down as one of the most powerful and important films to hit the screen in 2022, Danielle Deadwyler is unforgettable, and the film has a voice that needs to be heard more. A single movie is not going to stop hate, but that isn't the intent, this is a film that challenges its audience to open their eyes even more to racial injustice.

Even with some questionable choices, Holy Spider still packs a powerful punch, particularly in its third act, and one of the most disturbing final scenes you'll see all year that feels like the perfect summation of the past two hours.

The movie undermines its own message by silencing one of its most important characters and choosing instead to give the spotlight to the ones that bring nothing new to the table.

The problem is The Curse of Bridge Hollow isn’t clever enough to carve out a niche of its own and is defined by the diminishing returns of derivative genre riffs from start to finish.

The final showdown between Laurie and Michael Myers is pretty thrilling, perhaps because we know that this is the last time we will ever see the pair face off (supposedly). Whichever side you land on, whether you are Team Laurie or Team Michael, you won't feel cheated by the conclusion of the film, which makes what preceded it a lot easier to forget about and made the movie, in general, a lot more palatable.

When it embraces an eerie and enigmatic tone that subsequently gets turned on its head, Significant Other still boldly proves to be a film worth getting lost in.

Ultimately, the new Hellraiser isn’t entirely bad. It’s just bland. Forgettable. And in the world of horror films, isn’t that worse than being bad?

Dark Glasses is no Suspiria or Tenebrae, but it’s also no Dracula 3D. It’s a fine movie, and sometimes, that is all you can ask for.

Terrifier 2 is best when it does what we are here to see: big, bloody murder. But the attempt at a story is just atrocious. Terrifier 2 tries to be bigger and better than its predecessor when really, we just wanted more of the same.

Riseborough’s impeccable performance cannot be overstated. Her passion shines consistently whether Leslie has hit her lowest low or is riding her highest high. All of this contributes to the film’s poetic ending, which is sure to leave you teary-eyed and reinvigorated with a new lease on life.

Whatever joy you get in individual moments is lost in the shuffle of a film that far overstays its welcome.

With the options of taking the audience on a fully-fledged bang-bang Western adventure or commenting on the genre’s issues in past decades, Dead For a Dollar chooses to do neither and wastes its stellar cast with drowsy performances which never make you root or fear for any character.

What truly saves this film from its own baffling choices and makes it watchable are the performances. Scott, Piper, and Alwyn all turn in compelling performances, but it is the titular "little bird" that steals the show. As the rebellious, headstrong Catherine, Ramsey is an infectious delight who infuses every scene she's in with an energy that is both comedic and earnest in its bluntness.

Everything in Jeepers Creepers: Reborn is cringe-inducing to the point that even getting to the credits becomes a chore. And the fact the movie is taking itself seriously only makes everything more painful.

Deadstream is more than great found footage; it’s one of the best horror movies of the year, period.