This wish feels like it didn’t fall from the sky but was crafted by a producers' room with an eye for the highest profit margin. It leaves one wishing for something that feels human and true.

May December is one of Haynes' most unbalancing and provocative films.

Next Goal Wins exists as proof of the invulnerability of a certain movie template and as a Frankenstein patchwork of previous films.

It has a smidge of depth and takes chances that similarly worshipful documentaries probably wouldn't. But it also cracks a lot of doors without actually opening them up and walking through them.

An update of “The Talented Mr. Ripley” set in the mid-aughts, “Saltburn” is deliciously, wickedly mean—seductive and often surreal—with lush production values and lacerating performances.

The key to this movie’s winning emotional delicacy is its formal sturdiness. Every shot has a specific job to do and does it well. The performances are measured and restrained.

The Disappearance of Shere Hite feels like an epitaph and a reclamation of her legacy.

It is sweet without being sugary, colorful, and very charming, with terrific voice talent and a lot of music. It’s the best of the three.

In a sense, Jones’ musical talent and originality, as well as his status as a pioneer of world music, are alluded to more than seriously examined and appraised, and that must be counted as a lack in the film.

Consider Dashing Through the Snow more of a disappointing stocking stuffer than an exciting present under the tree.

The sensibility behind “The Strangler” is sufficiently unusual and stalwart.

This one is more forgettable than it could have been but also nowhere near the disaster that often comes when members of Lorne Michaels' troupe are allowed out during the day.

“Snow always lands on top” is the longtime credo for Coriolanus and his family. The question of how it falls, and whether it sticks, makes “The Ballad of Songbirds & Snakes” a surprisingly suspenseful prequel.

Thanksgiving is thrillingly pure in its nastiness and has more in common with ‘80s films like “Mother’s Day,” “Graduation Day,” and “New Year’s Evil” than its modern mainstream peers (the “Terrifier” blood bonanzas are an indie exception). Roth’s head-chopping whodunit doesn’t use “Grindhouse” aesthetics, but it’s a classic at heart.

Say what you will about Scott’s most divisive movies—they’re usually big swings with big ideas. What’s so disheartening about “Napoleon” is how small it ultimately feels.

You still might get what you want from Tiger 3 during the action and musical scenes, which have their moments.

If you’re watching “Leo,” it should be to see Vijay show off in between animal attacks, car flips, and celebrity cameos. And even if you don’t expect much from “Leo,” it still might give you exactly what you need.

It's a work of fertile imagination that takes every step confidently, even if it isn't certain where it will lead.

Dream Scenario gets many cringing laughs, and yet its humor—easy shots at vapid capitalist-pawn influencers, cancel culture, Tucker Carlson, and other culture wars Mad Libs—is mostly about the cheap comic thrill of getting the reference.

This film will be a treat for anyone who loves any part of Brooks' career, or all of it. And its subject is so fascinating and open-hearted that one can imagine people who've never heard his name until now getting something out of it, too.

It’s A Wonderful Knife has plenty of attributes—charm, blood, and angst—that should fit right in at any family holiday gathering.

Wang’s non-adherence to narrative lines deliberately prevents the sense of sustained drama. Still, every sequence has some emotional or dramatic hook to make it engaging.

Stamped from the Beginning drives home Williams’ point that racism is so deeply embedded in our culture and society and that it takes this kind of fury to talk about it adequately.

Like his previous film, “Midnight Family,” Lorentzen is curious about what drives certain people to care more about others than themselves, making caregiving their line of career. His camera shows the intensity of the work behind roles most of society may take for granted.

It works as a genre film; it's thrilling and suspenseful, with enough twists to keep you guessing, but the pointed commentary is impossible to ignore.

If you’re looking for meaning, humor, or comfort, you’d best not look for it here.

The cast gives their all, but the film ultimately has nothing to offer.

As much as Henderson is looking for answers, she’s demanding an appreciation for the implication of asking. She doesn’t seamlessly connect her investigations into Levi, Yucca Mountain, and Las Vegas history, leaving parts of the documentary feeling disjointed, but the effort is emotionally recognizable enough to leave you with impactful questions of your own.