Confess, Fletch is decent—not quite a great mystery, not an excellent comedy, but fully enjoyable for what it is. A major part of that is Hamm’s ability to play up his charms, while also showing his gifts as a comedic actor.

For all the anticipation about this being a star turn for Styles, the lack of depth in his performance and of the film itself ensures it won’t leave nearly the impression it set out to.

It’s so much fun to watch Johnson in this mode, especially with a cast this relentlessly fun and playful. With Glass Onion, Johnson proves himself to be a film disruptor of the highest order.

For all the promise of its main cast and sturdy thriller premise, The Menu is a work that seems destined to slip from your mind.

Spielberg has given us all so much magic over the course of our lives, and The Fabelmans becomes yet another Spielberg masterpiece, but this time, by showing us how this magic came to be in his own life.

Seydoux brings both parts of this story together with grace and charm, and an honesty that makes this one of her best performances so far. Hansen-Løve’s story is deceptively light, yet packs an emotional wallop as it explores the impact that love—and our separation from such love—can have on a person.

The Woman King is a film that has the confidence to be completely sincere in both the sharp moments of humor and the stunning battle sequences. The way it all grapples with history is subsequently clear-eyed, making some closing statements feel especially resonant. It is a film that ensures there is no denying Prince-Bythewood's dedication as a director and visual artist who can take on any cinematic challenge with ease.

Eichner and Stoller have written a film that plays to both of their strengths as storytellers, all while making one of the funniest and most romantic films of 2022.

Östlund's comedy of inequality and broken class structures might be a bit too blunt at times, slightly too long, and is often best when at its simplest, but Triangle of Sadness is too fun and ridiculous to not enjoy, and compared to The Square, is a step-up in Östlund's criticism of the bourgeoisie.

Weird might not be the best biopic parody (Walk Hard still holds that crown), but it is an absolutely charming and often hilarious look at the world’s greatest parody musician, packed with an excellent cast that wants to pay tribute to this weird man. Weird dares to be stupid and succeeds because of it.

In Clerks III, Smith returns to where his career began and has made one of his best films in decades, a tender and compassionate look at friendships that last no matter what, a remembrance of where Smith came from, and an appreciation for all those who helped him along the way.

If the 1940 Pinocchio showed that any wish your heart desires could come true, this remake shows what happens when your nightmares come to life.

It is an experience built around surprise revelations and plunging into the unknown. What is found there is not nearly as impactful as the actual journey itself, making for a mixed bag of horror and humor that rises above its lesser parts enough to hold together.

All in all, See How They Run is a derivative amalgamation of too much tribute and too little originality. Don’t get me wrong, it’s fun and the perfect film to bring your Nana to, but it's ultimately pretty forgettable.

Don’t Worry Darling is best as a surface-level matinée thriller with a few follow-up ahas. But it doesn’t sting like it should in the end.

It is inorganic, gimmicky, manipulative, and its lessons are simplistic.

Like the sparse land of its setting, Inisherin is a film that reveals multitudes through observation and reflection. While I’m writing mostly of its emotional seriousness, it is also compassionate and humorous.

Vampire movies, which often incorporate a love story, are usually driven by the threat of discovery. The absence of that in Bones and All, despite leaving evidence all over the Great Plains, makes it a beautiful-looking movie that becomes too devoted to repeating the same note. There is no “all,” just bones.

It is a thriller that frequently flirts with becoming an out-and-out horror film only to never quite arrive there. The result is a middling work that is occasionally interesting, as we see how it attempts to strike a balance between these two distinct ideas. Regrettably, it ultimately can’t hold itself together when it counts.

Iñárritu has always been heavy-handed but his attempt to be airier creates more areas to bloat. And it gets incredibly unwieldy at points.

While it is undeniably a character study with both the actors at the very top of their game, the story itself is perfectly suited for them to shine.

The remarkable details in how information is revealed entirely through a central performance is the reason TÁR excites. Not what it has to say, but how it tells us the story through a dual execution of performance and writing preparation.

Satire is one of the trickiest things to translate from page to screen and White Noise never really cuts as deep as it should because the communication of the jokes is so rushed — via DeLillo’s style that’s quicker to process on the page than it is to export to the screen.

Funny Pages is a beguiling debut, but it’s also one of the most compelling and unique takes on the coming-of-age genre in years.

The movie doesn’t stand out for its action scenes, has nothing new to say about the old good-versus-evil conflict at the center of any superhero story, and is incapable of giving its villains real purpose. Stallone is a strong man, but even he cannot carry the weight of an entire movie alone.

Its dialogue is constructed in a way that would sound unnatural even in a daytime soap opera, and Kruger works her best to save it, but there’s only so much she can do. The story is so poorly developed it feels like an outline of a script, all in favor of a final plot twist that would be jaw-dropping…in the 1930s.

The Invitation offers an inventive reimagining of a literary classic while asserting itself as a fun addition to the modern Gothic canon.

Me Time just goes through the motions of a wacky comedy without any of the actually funny components.