Before Infinity Pool loses its way toward the end, it proves to be an enticing work of depravity that explores money and privilege through horrifying, violent excess.

It’s a film that fits perfectly within the confines of a romantic comedy even while it swaps out every familiar element and explores brand-new dimensions in the process.

There's nothing uniquely surprising or exceptionally rousing, which is a shame given the unfathomably dreadful predicament and an interesting turn of a performance from Dave Bautista. It's a film without sensation that feels like it's pulling its punches across the board – development is stunted, ideas lack passion, and the camera avoids visible violence – before the ending strolls off into the sunset with barely any goodbye.

80 for Brady is a surprisingly sweet and sentimental comedy led by four stellar performances — especially by Lily Tomlin, who’s never been more radiant.

Despite game performances by a slew of returning cast members, it doesn’t justify its existence as anything other than a mercenary attempt by Paramount+ to cash in on audience nostalgia for familiar faces.

Alice, Darling is a measured, affecting observation of a young woman finally coming to grips with how much an emotionally toxic romantic relationship has viscerally changed her.

New Gods: Yang Jiang is worth watching for its novel animated action sequences, but its muddled story lacks the punch of its predecessor, New Gods: Nezha Reborn.

Kids vs. Aliens brings gloopy, grotesque practical effects to a childlike sci-fi thriller that fails to shine outside kill sequences and costumes.

There's Something Wrong With The Children is an energetic but expected kiddies-gone-killer tale that wades into some murky waters.

The Drop has a great premise about an accident that forces a couple to revisit their relationship and needs, but it never really lives up to its promise.

The Devil Conspiracy is a high-concept religious action flick with horror influences that sells its ambitions short but still entertains despite itself.

Missing owes its best moments to learning from 2018’s Searching, but is a bit of a downgrade in terms of Screenlife usage.

Cate Blanchett’s forceful performance as a world-famous composer makes TÁR a richly detailed exposé of ego.

Its few hints of flair may not cement it as a genre classic, but they’re enough to make it momentarily fun.

A Man Called Otto is a benign comedy-drama that peppers a heart-wrenching story with plenty of eye-rolling jokes to distract you from its perfectly pedestrian plot.

M3GAN capably proves herself more than a horror villain meme, although the film does sometimes struggle to balance the horror and comedy.

The Seven Deadly Sins: Grudge of Edinburgh Part 1 is an entertaining return for fans that feels incomplete, even more so for newcomers.

Whitney Houston: I Wanna Dance With Somebody is yet another music biopic that feels like a checklist of events rather than riveting drama.

Casper Kelly psychotically spoofs the strangest of strange horror titles that turn anything into a murderous entity while unraveling deadly severe social commentaries. It’s abstract art, theater camp, found footage foolishness, hunt-and-stalk depravity — Adult Swim Yule Log is a whole lot of things but, even with a full 90 minutes, few angles feel fully fleshed out.

It's a heartbreaking tragedy, dreamer's comedy, and saucy stumble through double-edged "success" stories, but most of all? It's a bloated, brass-band-swingin' mess.

Dash will leave viewers behind based on the virtue of its obscure construction, yet should excite those seeking alternative character studies based on gig culture, second lives, and the unfaithful depths humans will plummet before telling a simple truth.

Avatar: The Way of Water is a clear improvement on its predecessor and, though its story isn’t breaking new ground, its jaw-dropping visuals make this an irresistible return to Pandora.

Netflix’s Scrooge: A Christmas Carol manages to delight thanks to solid animation, a lively cast, and strong musical performances.

Puss in Boots: The Last Wish mixes stunning animation with a poignant, surprisingly mature story to deliver the Shrek franchise's answer to Logan we didn't know we needed.

A harrowing tale rooted in real events, Women Talking takes a stage-like approach to its debate between victimized women in a commune, but imbues it with cinematic flourishes. It’s also one of the rare ensemble movies where every single performance makes it worth watching.

Real-life tragic romance Spoiler Alert is kneecapped by the plainness of its storytelling, and only marginally saved by its performances.

No lies; there are a handful of moments that strike a smile. That said, enjoyment is fleeting like the glee of biting into candy only to find, seconds later, that it's black licorice flavor.

A Wounded Fawn is an artfully chaotic descent into bloodlust, monstrous misogyny, and euphoric comeuppances of the most punishing pleasures.