Marry Me could've gone deeper with some aspects and laid off the musical numbers a little bit, but it will still be the perfect movie for anyone looking for some romance this Valentine's Day.

Although it makes for a better rom-com than murder-mystery, The Lovebirds is an entertaining romp powered to life by Nanjiani and Rae's chemistry.

At its core, Cabrini is a feminist story whose bloated 140-minute runtime slightly overstays its welcome, but also packs an emotional punch for those willing to accept its message.

If American Pachuco leaves you wanting more, perhaps that's not a bad thing; Valdez deserves the last word, anyway, and he's not finished.

Meanwhile on Earth is an odd blend of genres that distracts from its arguments, even though the unresolved ending isn't really the problem.

Powered by an incredible, devoted performance from Jonathan Majors, Magazine Dreams stumbles in its last act and repeats itself too often, but it is gripping and intense all the same.

Unbearably tense at times, Ultrasound executes its high-brow sci-fi concept with ease, while some unanswered threads can make it a frustrating watch.

Cellar Door may not provide intense emotional payoffs, or twists that come as a complete surprise, but the actors deliver great performances, and it's intriguing to watch as the central couple's lives unravel.

Although Murder lacks some of Hitchcock's signature guile, it's still a fun mystery with one or two flashes of visual brilliance.

Underneath its weaker spots, Turtles All the Way Down is bolstered by genuine heart and an excellent central performance from Isabela Merced (Madame Web, Instant Family).

Bad Boys continues chugging along with Ride or Die. Watching the sequel reminded me a bit of the Fast and Furious franchise — it tries to go bigger than before, while also maintaining its core relationships as a key to its success.

Director David Lowery (Pete's Dragon) brings a more mature sensibility to the tale of a boy who never wants to grow up, and it ultimately yields some mixed results. While Peter Pan & Wendy is strangely lacking some magic, it is saved by a scene-stealing Jude Law and a narrative that forces one to reckon with Peter's more negative traits.

It's a pleasant film that showcases its talented cast, and while it may not be groundbreaking or innovative, it at least offers amusement.

The film exceeds expectations with respect to being a Netflix Christmas production, but it is thoughtful and sincere all the same.

Thanks to the special cast chemistry, 80 For Brady’s charm shines through despite being good for only a single watch.

Thankfully, despite the movie feeling imbalanced in parts, One Another still proves to be a generally charming enough diversion.

While the film isn’t overly ambitious or deep, it’s an energetic, occasionally thoughtful and honest film about the lack of honesty and its effects on relationships.

Winnie-the-Pooh: Blood and Honey 2 shows a better grip on its overall tone and character development than its predecessor.

Fast X is a breathless thrill ride that occasionally gets bogged down in melodramatic dialogue, but Jason Momoa's villain makes it a blast to watch.

Since there are four films that precede this one, there are definitely less ideas to play around with, but the film still comes up with an interesting morality tale.

There are a few lingering plot lines in need of more attention, but overall everything put to the screen makes up for any of Divinity's shortcomings.

From a horror perspective, the film is lacking, but it more than makes up for it with well developed characters and a killer who preys on secrets.

Despite Foe’s shortcomings, it has plenty of heart and something to say. Its visuals are magnetic and Ronan and Mescal give their all in gripping, emotional performances.

Wedding Season may appear to be another Hallmark-esque romantic comedy from Netflix, but it is actually a delightful endeavor that will warm the hearts of its viewers.

The standouts are certainly more on the technical side, with Elisha Christian’s cinematography, Will Bates’ score, and Mohan’s close-ups. Then, there’s Sweeney, who, without a shadow of a doubt, convinced me of her acting skills thanks to what she was able to accomplish through her emotional and physical performance.

All one can hope to get is a colorful and exciting adventure that allows the characters’ personalities to shine. Rise of the Teenage Mutant Ninja Turtles: The Movie succeeds in that regard.

Because of some questionable decisions, the film's key messages aren’t as effective as they could be.

This is a purposefully languid movie that proves real, genuine tension can be built without crash landing right on your head. In an era of fast cuts and escalating explosions — the kind that Hemsworth, Ruffalo and Halle Berry all know intimately from their time in Marvel's universe — it is refreshing to watch something this confident in its own particular DNA.

Onward is a good, but not great Pixar movie, with a heartfelt, if emotionally manipulative storyline, and plenty of film magic to propel it forward.

With the help of a fantastic ensemble, including a short but impactful appearance by Veep's Timothy Simons, Shortcomings will have audiences thinking as well as laughing after the credits roll.

Though it lacks the same zippy energy as the first film, Sonic the Hedgehog 2 is bolstered by fun new characters and a perfectly wacky Jim Carrey.

While Red, White & Royal Blue is a little too light on laughs, its central romance follows the book closely enough that die-hard fans will be pleased and casual viewers will be able to find something to love.

Better Nate Than Ever is full of charm, supportive friendships and familial relationships, and a passionate love of musical theater and these elements work together to create a lovely, entertaining viewing experience.

The Rhythm Section is wonderfully acted by Blake Lively and immersively directed by Reed Morano, creating a tense and mostly engaging thriller.

Thompson and Mitchell's famed Abbott & Costello-style riffing and Mitchell's eternally endearing portrayal of Ed still make Good Burger 2 a largely satisfying Good Meal.

The bottom line: even with some inconsistencies, Drugstore June is funny. It creatively approaches a deceptively ambitious setup and doesn't overstay its welcome.

With the exceptional performances from the cast and several laugh-out-loud moments, this creative film is wildly entertaining.

Moxie has some heart and teeth as its Riot Grrrl-inspired teens smash the patriarchy, but it's more love letter to Gen X than a call to arms for Gen Z.

It's more effective as an action-comedy about Mike and Marcus struggling to figure out what they want in life (now that they're facing north of fifty) that a reflective drama about Mike coming to terms with his traumas and mistakes, if only because the latter plot thread tries to build on a foundation that, frankly, was never really there in the first two Bad Boys movies.

While The Gorge is (ironically) fairly shallow, it offers some strikingly designed genre thrills and is powered by two charismatic stars.

Even if I didn't quite love the film, I can't deny I hope it inspires more to take the same bold risks Hernandez and Stephens did.

Thought-provoking, beautifully edited and told, Sirens explores the band members’ relationship with each other, gender, and conformity in a society that isn’t always open about such things.

It’s a fascinating story to balance, and though it doesn’t always work, Finley really runs with the concept and its various themes. It’s safe to say there’s never a dull moment in the film, and it isn’t predictable in terms of what comes next.

Tankhouse might not be for everyone with its outlandish humor, but if viewers are willing to invest in the absurdity, then it's worth watching. Tomaschoff has clearly created this movie out of respect for anyone who has loved spending time in the theater, and with a game cast ready to shoulder the material, it becomes something very sweet underneath all the quirk.

The Willoughbys is a mishmash of story ideas strung together by the idea of found family, but it's cute and quirky enough to keep viewers hooked.

House of Spoils is an exploration of witchcraft, land, and the respect it should be given, and a study of the perversion and stress of the restaurant industry.

The most interesting and beautiful piece to this puzzle is the fact that Dillane's performance can steer the audience in any direction emotionally and at any given moment.

Garner's performance is the heart of this, and if the movie were told entirely through her eyes, I think you'd have the compelling layer of doubt that the film sometimes seems to want.

Ultimately, Sweet Girl doesn’t necessarily reinvent the wheel or anything, but it tries to have fun with its material nonetheless.

While some aspects might feel slight, Tahara is an engrossing coming-of-age tale bolstered by its distinctive visual style and well-matched leads.

Dan Trachtenberg's third Predator entry is exciting, but also tonally askew in ways that prevent it from hitting its stride.

In implicit ways, Deepfaking Sam Altman demonstrates just how out of touch from basic humanity these programs still are, which makes it all the more terrifying when we hear how they are being peddled as tools which can literally decide the fate of human lives.

It might be pretty forgettable, but thanks to its stellar lead actors — especially Bloom, who goes full psycho in the guise of a career criminal — it’s a fun ride.

The High Note is an enjoyable, if not particularly inventive, rom-com that's more infatuated with the music industry than developing its romance.

If nothing else, it's best to walk into Sean Price Williams’ feature debut, The Sweet East, as a satire decorated with light political and human commentary and wild excitement that never lets up.

Just in time for the holidays, writers Morgan Evans (Teen Titans Go!) and Jase Ricci have found the perfect balance of heart and hilarity in this cartoon caper.

Birdeater didn't have to be a blood-soaked revenge movie to be more effective, but it took too few risks to be truly thought-provoking.

I walked away from the film feeling distant from Bob Dylan. That seems to be by design but it’s no less frustrating from a storytelling point of view.

The Archies is entertaining, educational and original.

Driver's Ed hardly reinvents the wheel when it comes to the YA world, and it's far from perfect. Still, with its string of solid laughs and a very game cast, it makes for an entertaining adventure that goes down easy.

Chicken Run: Dawn of the Nugget is a blast overall. The performances hark back to the original, and while the sense of humor is not as edgy as it once was, it's still very effective.

The Beekeeper is an engaging ride, and once the action starts it never lets up.

While I will not spoil the ending, the film really struggles to avoid making a demonized monster out of mental illness, portraying sufferers as violent.

Extraction 2 is weighed down by Rake’s hang-ups over his choices, but the drama of the familial unit Rake is out to rescue is enough. Hargrave's vision is clear.

The characters, in their fight to live another day, and the thrilling, suspenseful sequences are what make the film worth watching. However, Those Who Wish Me Dead could have more thoroughly explored the very details that drove the plot, which would have elevated it beyond a basic action-thriller.

The Outpost finds success in its thrilling, white-knuckling battle sequence, but rarely digs below the surface of the ones who fought in it.

In some ways, The Exorcist: Believer feels tame when it comes to the full potential of its premise.

Ultimately, Inheritance is a fairly good attempt to branch out into different technical abilities within the spy thriller genre. Hopefully, this method and films like Inheritance continue to inspire such attempts.

Anchored by two great lead performances, Raymond & Ray is at its best when exploring the odd relationships between its complicated characters.

For all its shortcomings, Sharper manages to pull together all of its cons with a finesse that could have easily been bungled in less capable hands. Even if it fails at its greatest con of all — pulling one over on audiences — it still manages to be a taut thriller that feels fully realized.

While it might not stand the test of time, the film is an entertaining, easy watch that works well enough.

Bolstered by a headstrong performance from Ramsey (who is best known as Lyanna Mormont from Game of Thrones), alongside a fantastic supporting cast, Catherine Called Birdy will be best enjoyed by a younger audience, though it’s still fun enough for viewers of all ages.

Flamin’ Hot is not only entertaining, but feels like a warm hug. It’s sentimental enough, but doesn’t overstay its welcome. Longoria has ultimately crafted a sweet, funny, and bright movie that will surely have viewers looking up Montañez on Google after the film ends.

The cast’s chemistry uplifts this film and makes certain moments all the more enjoyable. Everyone is clearly having a great time, and it shows in every scene. While the film probably won’t be remembered after audiences leave the theater, Champions is a lighthearted, feel-good sports movie that does exactly what it sets out to accomplish. It doesn’t do anything out of the norm, but it is a solid effort from Farrelly and Rizzo that will certainly boost one’s mood after watching.

The overarching problem is the film's tendency to be a touch too shallow, even if that's the point of the narrative. Finding out more about Hope's hidden past, the supporting characters, and the big lives everyone hints at would have made the story more compelling and helped the characters feel real.

While it doesn't quite reach the horrific highs of the 2013 remake, it rips through other splatter-fests with the finesse of a freshly whetted chainsaw blade.

If you’re looking for an overall fun time at the movies, One of Them Days delivers.

Love in the Villa may be a silly rom-com at heart, but with Graham and Hopper’s compelling chemistry, leaning into the ridiculousness and unrealistic moments is worth it for these two alone.

It doesn’t break any genre barriers, nor does the film offer anything new to say about these respective topics. However, Tagliavini nicely crafts a Christmas rom-com that is funny and sincere — a feat with which many other holiday romantic comedies have struggled.

Despite having some really good parts driving it forward, it's unfortunate that The Mortuary Assistant never quite finds its rhythm.

The film is melancholic and contemplative in a way that isn’t always the case with romance genre films.

Though the story treads familiar territory and doesn't present a remarkable discovery about human nature, that doesn't leave us any less affected by the journey.

The movie tells a tight, contained story, but spends a little too much time sharpening its emotional knives to craft a truly compelling supernatural story. Bring Her Back gets lost in the weeds of its desire to rip your heart out.

For those willing to dig deep, there is a lot to be gained from Sasquatch Sunset about what it means to be alive, our connection to nature, and the enduring power of family and resilience.

While it might've been nice for Mafia Mamma to reveal more details about Kristin's ascension as a mob boss, its humor and Collette's performance make it a solid ride anyway.

Though competently shot, the storytelling and performances leave much to be desired.

The convergence of the story of a bereaved mother with a cult-like presence in the new country she calls home does not blend as effortlessly as one would like. The third act proves it cannot. Despite this, however, The Twin makes for a fairly constructive horror that is worth a watch.

While the film tends to get repetitive and its comedy doesn’t delve any deeper than it has to, Some Like It Rare is entertaining and darkly funny.

Parthenope is sensual and visually exquisite. It might not dig way too deep into its message, but it does get it across by the end.

It's not particularly memorable or an all-time great action story, but it's decent, and the quality is there. Off the Grid is an overall satisfying action movie as long as you're willing to look past the bare-bones plot.

Mass may not be an enjoyable experience, nor will it likely be remembered as a culturally significant film; yet, one leaves the movie with the overwhelming feeling that it is important viewing.

The animation is still strong and the character beats are affecting, but the villain and his motivations stand in the film's way of true greatness.

It's fun, and there's nothing inherently wrong with it, but I found myself distracted, turning away from the screen several times because I knew I wasn't missing much. Something Beautiful will come and go, and for most, it won't make much of an impact.

Lamb is a slow-burn suspenseful horror that eschews the genre's typical gore and jump scares, and instead frightens audiences with a nuanced portrait of grief, punctuated by the unshakable feeling that something is terribly wrong.

There's plenty to admire in Maria, and in Jolie's performance, but my connection to certain scenes shouldn't be mistaken for my being emotionally engrossed. In fact, I typically felt kept at a distance.

There are certainly lulls throughout, and the story needed some tightening. But what it lacks is more than made up with a great cast, distressing moments, and some well-shot action.

A Banquet is a beautifully made psychological thriller with nuanced performances and a gross hook.

This is merely an example of misalignment when it comes to direction and script. Because while Kane’s vision is mostly clear, the execution of this particular script stumbles.