The End We Start From is a muddy post-apocalyptic drama that fails to nail the human connection at its core.

Society of the Snow humanizes the gruesome tale of a group of rugby players trapped in the Andes.

When Aquaman and the Lost Kingdom is being an Aquaman story and leaning into the silliness and family aspects of it all, it’s fun. The enjoyable bits are just sandwiched between some ugly effects and a weird first act that feel cobbled together from a very different movie.

While Anyone But You isn’t a bold new take on traditional romcom formulas, it becomes an infectiously sincere and easily watchable movie featuring a charming ensemble cast and great situational comedy.

The Color Purple strands a passionate cast in a passionless movie musical that’s eager to skip to the end.

Migration is satisfactory but uninspiring.

The Zone of Interest is a formally precise yet completely shattering cinematic intervention that emerges as one of the most monumental films ever made.

Unfortunately, great performances and reverence for the sport aren’t enough to save a film at odds with itself.

Despite a great ensemble cast, Zack Snyder's space opera is let down by a derivative patchwork script, mediocre action sequences and a superficial story that fails to live up to its expansive promise.

Ranbir Kapoor is deeply committed to his brash and ugly protagonist, but in spite of the movie’s explosive action, director Sandeep Reddy Vanga seems more preoccupied with provoking outrage than with telling a coherent story.

Leave the World Behind has a worthwhile cast, but its paranoid thrills quickly fizzle out en route to a baffling final scene.

Concrete Utopia is a polished disaster drama with a bleak and brutal view of human nature.

While Lord of Misrule has its moments, blending folk horror, possession, and murder mystery isn’t enough to make this saggy film pop.

Wonka is a celebration of music makers and the dreamers of dreams, a big, old-fashioned movie musical that uses Roald Dahl’s world just judiciously enough to avoid any serious hits to the author or Gene Wilder’s legacy. Timothée Chalamet’s portrayal of Willy Wonka is most successful in its earnestness, and Chalamet brings the character to life with a gleeful abandon that makes him easy to root for, along with an energetic supporting cast who end up carrying the banner of Wonka’s weirdness more than Wonka himself. Charming and well-staged musical numbers give the movie enough of an identity of its own to make it worthy of a taste – just remember to burp and fart if you start floating toward the ceiling at any time during your screening.

A boring, weightless revenge experiment that quickly goes awry, Silent Night features none of the charm or visual panache that made John Woo one of Hong Kong and Hollywood’s foremost action stylists.

As a historical epic, Napoleon is handsome but a little impersonal – you can really feel the absence of texture lost in getting it down under three hours. But between the textbook bullet points, a very funny anti-Great Man biopic peeks through, thanks largely to Joaquin Phoenix’s performance as a Bonaparte who’s more boy than man.

Leo looks like the kind of standard big-studio animation Netflix has been regularly knocking off, but it’s far funnier, and more unexpectedly sweet, than the average kid-targeted cartoon. In fact, Robert Smigel, Adam Sandler, and their collaborators have made one of the funniest movies of the year that doubles as a love letter to the complexities of teaching kids, in or out of the classroom.

Eli Roth finally adapts his fake trailer into a real slasher movie – and it’s not without its nasty charms

Trolls Band Together hits its chosen notes with its trademark glitter-drunk energy and some bonkers visual invention, but its mashing up of shiny pop hits (not to mention past Trolls movies) approaches exhaustion.

While Wish is enjoyable, this new Disney fairytale doesn’t measure up to those that came before.

Please Don’t Destroy: The Treasure of Foggy Mountain has way more laughs than the standard direct-to-streaming comedy, with some gloriously silly running gags and hilarious non sequiturs. But it lacks any real point of view behind that silliness.

A rousing, spectacle-filled blockbuster, Godzilla: Minus One takes the king of the monsters back to his roots in post-WWII Japan. The story is character-driven, but the monster scenes are exciting and effective.

Not a deeply probing Hollywood documentary but filled to the brim with fun behind-the-scenes footage. The Boy Who Lived is a likable, grounded, and heartfelt portrait of a Harry Potter stuntman whose career was cut far too short.

A super-charged genre throwback that obscures its meaning but has an alluring visual texture, Divinity is completely unique in its conception of sci-fi dystopia, for better and for worse.

Solid fundamentals make It’s a Wonderful Knife an enjoyable Christmas slasher, although not as inspired as the writer Michael Kennedy’s previous work.

Actors Tom Blyth and Rachel Zegler are brilliant additions to the franchise with equally magnetic takes on their very different characters, but aren’t given enough time to fully flesh them out.

The Marvels is a triumph. Its depth can be seen not just through its characters, but through its story as it explores war's complicated fallout; the difficulty of being a human when you are perceived as a monolith; and the hilarious and complicated virtues of family. Both funny and heartfelt, Nia DaCosta’s MCU debut will have you asking when she and her leading ladies are coming back immediately after the credits roll. It’s a pity that the villain isn’t given much to do, though.

This big-screen take on the indie-horror sensation has too much plot and not enough of the game's primal security-cam thrills.