After similarly sumptuous but somewhat tragic films like A Fantastic Woman and Disobedience, Gloria Bell feels more life-affirming, more explicitly comic. In many respects it’s a beat-for-beat remake of Gloria, with only a few cultural details swapped out, but the tale translates quite well.

To commend The Boy Who Harnessed the Wind is reasonably easy. Here’s a film that’s pro-science, and sheds new light on a world that Western audiences don’t normally see. But it’s all so dramatically meager and obvious as well.

Apollo 11 is a great documentary, and its greatness can largely be attributed to the stunning archival scenes compiled within it. It’s impossible for anybody who wasn’t there to truly understand what it felt like to see Apollo 11 complete its travels, but for at least 93 endlessly arresting minutes, Apollo 11 does its very best to put you right there.

There are touches of the freshness that percolated through Black Panther and Thor: Ragnarok, two films that brought new points of view, loads of promise, and no small amount of political and social resonance to the MCU, but only a little of the sense of newness and boldness that Ryan Coogler and Taika Waititi’s films had in abundance.

Those who follow it down its strange little alley will be rewarded with beautiful music, Isabelle Huppert, and a table-flip for the ages. See it with your mom. It’ll be weird. That’s what Greta would want.

Transit is a walkabout potobiler that ruminates more often than it feels compelled to run. It’s brutal, stark, dry, compelling, rich, and all the other drastic hyperbole that one can only bestow upon a genre-bending experiment like this one.

Despite existing within the auspices of a predictable subgenre of indie film, Paddleton manages to affect and delight in surprising ways.

Between its continuous insistence on broad humor and its lack of broader context about the industry period in which Paige came up (she was among the first womens’ wrestlers in WWE to break out when the division gained traction after years of public degradation), Fighting With My Family ultimately reveals itself as a shallow take on a genuinely fascinating story.

Even if the run-up takes its time, DeBlois sticks the landing – for this film, for his trilogy – and makes something that feels a bit more knowing in its themes: Life goes on, protect the ones you love, and enjoy the world we all share. There are far greater crimes children’s films can commit than positive messaging.

Like its unstoppable heroine, Alita: Battle Angel is something strange and unique and special, built from the finest repurposed parts.

As a teller of tense, personal stories about communities in crisis, Farhadi is an absolute master; but with Everybody Knows, he falls just a bit short of the greatness people have come to expect of him.

It’s a pleasure to report that Happy Death Day‘s unexpected delights were in no way a fluke, and Happy Death Day 2U builds on its off-the-wall concept to even greater effect.

Horror Noire will also open doors for horror fans both old and new, while also reminding them that the can take these movies at much more than face value.

With High Flying Bird, Soderbergh may well have crafted the most direct distillation of his own philosophy of filmmaking to date: idiosyncratic, confident, and endlessly disruptive.

While it’s a reasonably paced thriller, The Prodigy is almost wholly devoid of real scares.

Lords of Chaos can’t seem to find its center for the entirety of its indulgent two-hour runtime. From moment to moment, the mood shifts from comic to dramatic to horrific to exploitative.

An entertaining if mostly inconsequential romp, in its best moments What Men Want feels less like an update on What Women Want and more like a gender-flipped version of Jerry Maguire.

The Second Part is a film almost wholly redeemed by its climax, a culmination of unexpected plot threads and surprisingly sweet character development that ends up making the whole more valuable in hindsight.

Throughout Piercing, it’s never clear who’s getting played, at least except for the audience. Those with the stomach for what Pesce and his stars have to offer will likely give over to the rush of it, as the film plays fast and loose with expectations at every turn.

Disappointing and confounding, Velvet Buzzsaw can ultimately be filed under What Could Have Been given the kind of talent involved.

The little beats throughout Cold Pursuit are distinctive enough to cover for this gory caper’s periodic misfires.

Ánimas packs a lot into its 90 minutes, and occasionally suffers for it. There’s a dourness to the movie, a self-seriousness that won’t make it anyone’s favorite escapist flick. But while it wears its themes on its sleeve, they remain undoubtedly striking and thought-provoking, especially in an age where the issue of mental illness is being discussed on a global scale.

Serenity is often stylish. It is never, ever dull. It is also deeply stupid.

Every second grates and confuses in equal measure, with nary a thrill of inventive, exciting action filmmaking to break up the monotony.

The Kid Who Would Be King is a reliable family film, and Cornish polishes old tropes with fresh eyes and a sense of clever imagination.

IO is dull, it drags, and it’ll beg the question: When will this, all of this, be over?

Shyamalan comes off so smug by the end of this movie that it’s insufferable — and also kind of jarring. It’s as if he’s learned nothing from his past and still believes he’s pulling a quick one on his audience.

It’s a gripping, fascinating watch, an elegantly assembled portrait of the end result of influencer culture and late-stage capitalism – the blind leading the blind into an empty, insubstantial image of success and luxury that turns out to be nothing but smoke.