It strips Nyad of her complexities for something a bit too formulaic.

The film and its character dynamics are intoxicating and wildly enjoyable, almost uncomfortably so due to the nature of their entanglements. If it had been less concerned with its twists, Saltburn could have been immaculate.

Niasari carefully and assuredly handles an intense and emotional story with ease and vulnerability. With her work on Shayda, Niasari is a filmmaker whose work we should keep an eye out for.

As far as middling entertainment goes, Five Nights at Freddy’s fits the bill.

It’s an exemplary film that strikes an emotional and thoughtful chord.

Though Decibel boasts loud explosions and a stressful race against the clock, its secret weapon lies in Lee Jong-suk & Cha Eun-woo's emotional scenes.

Killers of the Flower Moon is immeasurably captivating and compelling; it’s chilling and emotional, and I doubt anyone will walk away from the film — especially considering the way its ending is set up — without feeling moved by what they’ve just witnessed.

This is not a biopic of an artist so much as a human artwork, capturing the many questions he provokes and the contradictory answers that define him.

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.

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.

The anime film Blue Giant is a jazzy tribute to aspiring young musicians, offering a glimpse into the world of music in a stunningly visual way. Starring relatable characters with a solid bond of friendship, Blue Giant hits a lot of the right notes to get an interesting story while keeping the music center stage.

Ultimately, this story, likely unfamiliar to the masses, conveys the hidden history behind Miranda Rights with conviction and great storytelling.

Totally Killer has its flaws, but it also has a distinct flair and charm. The film’s comedy is self-aware and witty, even if not all the comedic elements work, and there’s a love of the 80s that isn’t overshadowed by attempts to emulate it without question.

I do not regret having seen it, and with all there is to recommend it, I feel comfortable suggesting you seek it out upon release. But do so with tempered expectations.

It's a journey as much defined by tedium as tension, but to paraphrase the assassin, if you can't handle a little boredom, this might not be the film for you.

Memorable? Hardly. Entertaining? Somewhat. Ultimately, the film will resonate with the people eager to devour more Stephen King-inspired projects; sadly, there is nothing genuinely inspired to enjoy.

Savor Hit Man, however you come across it - it's not every day the movies entertain us in this way at this level of execution anymore.

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

Spy Kids: Armageddon is creatively deficient. With each new Spy Kids project, Rodriguez mines an empty cave; there is nothing but dirt and hopeless dreams.

The Holdovers won’t blow you away in any particular category of filmmaking, but in the capable hands of Payne, every one of these categories is above average, making the overall film equally enjoyable and well-made.

It’s a film like no other that you’ll see this year, and though not everything works, River is a time loop jaunt that isn’t easy to forget, bolstered by fantastic performances and a deep sense of fun.

There’s Something in the Barn is a horror comedy that seems destined to be a cult classic. It ultimately delivers on its premise and has a whole lot of fun while doing so.

It is Baig’s vision that makes We Grown Now sing in a way that is totally incomparable. Every shot, every musical choice, everything that makes a riveting movie is on display and at its very best here.

Occasionally intense and always interesting, Sri Asih is certainly worth a watch.

Reptile gets an extra edge thanks to its rock-solid cast and sufficiently gripping mystery, but it never coalesces into anything incredible.

A lot happens, story-wise, but if the film had just followed Sylvia and Saul learning how to be around each other, it would've been enough.

Mimang is exactly the film it sets out to be: Gentle, indirect but never apologetic.

Though there is one climactic heist the film rests on, there are a couple of mini crime sprees that come in the first act that set the tone for the finale. Combined with an absolute masterclass of an action set piece, Smugglers is a movie with a lot on its mind and expresses it in a very entertaining way.

The exceptional camera work by Kore-eda and tender script from Yuji Sakamoto is a near-perfect pairing. Together, this dynamic duo created a great film that enabled the cast to put every ounce of emotion into their performances.

The film presents a bold vision of what movies can and should be and, ultimately, it's a more exhilarating experience to watch a movie of this scale take risks and fall short than it is to see a blockbuster play it safe and deliver mediocre results.

Love at First Sight has the potential to be a go-to choice whenever one is feeling in the mood for a light cry and swoon.

Poolman is an unfunny spoof of neo-noir thrillers with hazy direction, even messier storytelling, and unbearable dialogue.

Ultimately, Cassandro is a touching tale of a remarkable person who paved the path for others to find liberation and acceptance through their chosen art.

While not flawless in execution, it's daringly creative — the kind of movie that will inevitably cause those who see it to start talking about other movies as a way of understanding

The film’s disparate elements and overarching themes don’t entirely come together by the end, leaving the story’s emotional throughline weakened as a result.

Those willing to embark on Fremont's modest, gently heartbreaking journey will find themselves rewarded by what it has to offer.

Thank You For Coming comes close to being a definitive sex comedy for women, with Bhumi Pednekar's star turn offering laughs and life lessons to spare.

It may not be the best biopic ever told, but people will certainly walk away from Rustin more educated, inspired to be the change they want to see in the world, and grateful that movies like this are willing to tell the truth about buried history.

A Million Miles Away is genuine in the way it presents its story, and the struggle Hernández endures, but it’s also so laser-focused on his space goals that it forgets to explore his inner life.

It’s goofy and relies heavily on common tropes, failing to offer insight into the players as people outside their team.

It isn’t the best in its genre, of course, but the commitment from Keaton, as actor and director, is more than enough for me to rally behind this film for another watch.

A satisfying David vs. Goliath tale of justice, The Burial is the type of film you’d watch for the history lesson, stay for the entertainment, and return to see a wonderful cast let loose in all the best ways imaginable.

Ultimately, Pain Hustlers is a mixed bag of entertainment that opts for flashiness instead of focusing on the important elements of the story at hand — the people affected by the carelessness of others.

Dumb Money is a crowd-pleasing story with great performances and a script that keeps it simple.

Perhaps one of the most provocative and strongest satires in recent memory, American Fiction contains wickedly smart writing, superb performances, and messaging so in-your-face that it could almost be easy to miss.

While showing good potential overall, Kendrick’s directorial debut is hindered by tonal imbalances and poor editing.

A Haunting in Venice is standard Hercule Poirot mystery fare that is given a boost thanks to the stunning visuals and supernatural happenings.

Bottoms nearly has it all and even where it falls short, it is still far bolder than much of anything released by major studios in the last few years.

The film is still very watchable, and it has a lot of heart that makes up for its overall lack of focus and certain emotional throughlines. But where cohesiveness and pacing are concerned, this sequel leaves a lot to be desired.

An appropriate mix of levity and devastation, Sitting in Bars with Cake is a heartwarming journey about endless support, friendship, and appreciating life.

Anatomy of a Fall is as addicting as any true-crime story, and as riveting as some of the best murder mysteries thanks to a team effort in front of and behind the camera.

Though The Good Mother contains great talent like Hilary Swank and Olivia Cooke, the predictable formula holds it back from saying something meaningful.

The script plays out like a mystery that keeps you guessing, but it also works against the film at points. Perpetrator has something important to say but just doesn’t know how to say it.

Overall, Puppy Love is very dull. The movie has all the clichés at its disposal but can't make much of it. The writing is witless and dry, and the directing — by Nick Fabiano and Richard Alan Reid — equally so.

Overall, The Hill is lacking many of the hallmarks one would expect from a sports movie, pushing aside major events in favor of returning to its religious messaging. This leads to some baffling choices in its character development and storytelling, and those in turn erase much of the tension and emotion from the movie.

Retribution is comically familiar, yet that familiarity breeds a sense of comfort for the average movie watcher who wants something not too complicated or tedious.

Vacation Friends 2 doubles down on the dirty jokes of the original and delivers.

While Cohen’s latest doesn’t break any genre barriers, this coming-of-age story dissects and visualizes female friendships with grounded realism, welcoming us into its world while leaving room for us to picture ourselves in it.

Birth/Rebirth contains wonderful performances from Ireland and Reyes. But Moss’s directorial debut needs quite a bit more than stunning performances to leave a lasting impression.

In Aporia, drama takes center stage and bells and whistles are few and far between. The production value is simple but effective, as are the performances. By the time the credits roll, Moshe’s film makes its point and, crucially, does not overstay its welcome.

While the movie excels in family dynamics and character development, the visual effects and portrayal of the Kord family as villains fall short. Nonetheless, Blue Beetle is a charming depiction of functional family bonds and a promising introduction to a live-action DC superhero.

The heart of the problem is The Monkey King makes its central character, whose story has been told and retold for hundreds of years, uninteresting. Without that spine to hold it together, everything collapses.

It's a lighthearted, empathetic film that multiple generations of family can see together and all find something worth taking with them.

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.

The Last Voyage of the Demeter fails to deliver on its early promise of being a compelling horror experience. The focus on jump scares and a skeptic character detracts from the potential scares and fails to bring authenticity to the storytelling.

It's an entertaining movie that also serves as a great showcase for Gadot's action chops, but it might not linger long in the memories of viewers.

Every performance has something to offer and though the filmmaking is not very ambitious, it is well suited for the plot and tone. The Beanie Bubble isn’t fan service for lovers of the classic toy, but it is a refreshing take on the biopic.

The material is not lacking in thematic depth, but how the filmmakers choose to express these themes makes for an inconsistently engaging experience. Dreamin' Wild is sometimes too caught up in its own artfulness, and all that weighted form ends up trapping its ideas rather than giving them heft.

What’s ultimately missing from Til Death Do Us Part is proper execution and a script that the actors can build upon.

The result is a fun, exciting animation that keeps us hooked throughout. Yes, there is the occasional lull in the story, but it doesn’t linger before picking back up with some new story turn or action sequence.

Earth Mama is the kind of film that draws you in and keeps you hooked with its powerful storytelling and the layered intimacy within Nomore’s understated performance.

The dynamics needed to be defined better, and despite some compelling filmmaking, the flagrant disregard for characterization reduces Fear The Night to a mildly tolerable home invasion horror.

Sympathy for the Devil is a missed opportunity with a collection of engaging moments, none sustained enough to really satisfy.

With an amusing ensemble cast, a sturdy script, lovely filmmaking, and the power of its leads' chemistry, Happiness For Beginners is a modest delight.

A fun film for all ages, Haunted Mansion may be the remake you never knew you needed. The feature is full of great laughs and some age-appropriate scares that will keep viewers of all types glued to the screen. While heavy on cheese and silliness, screenwriter Katie Dippold is never afraid to discuss an important topic like grief through her characters. It brings a realistic element to the film and balances out some of the fantastical elements. Haunted Mansion may not break any barriers when it comes to storytelling, but thanks to a dedicated cast and their commitment to their characters’ vivid personalities, you can’t help but smile throughout.

Oppenheimer is a devastating portrait of man's hubris in the face of change, with some of the most startling & horrifying images of Nolan's career.

Everything about Barbie is crafted with both mass appeal and personal insight, much like the doll, resulting in a movie that knows how to please.

The themes in The Miracle Club may be as old as time, but it beautifully celebrates the idea that friendship and compassion can be healing.

The Lesson is gripping and compelling, enhanced by its cast and score. It knows precisely what kind of movie it is and, though at times predictable, has much to say and a sophisticated, unpretentious style to go along with it.

They Cloned Tyrone is funny, well-paced, and just plain cool, and when you think that's all it is, the script digs even deeper.

The film is an effective, thrilling, frightening horror, perfect for those who enjoyed Bird Box and are thrilled by the prospect of more.

Joy Ride is the kind of film that will make you laugh and cry in equal measure. Bolstered by a fantastic ensemble cast, the road trip comedy isn’t afraid to get dirty, but it never forgets its heart in the process.

Eslyn has full control of every element of the filmmaking process and the team to execute that vision. Fenton's production design fits the film perfectly and every little touch works to build out this world. Duplass and Brown are an unlikely, but deeply successful, duo.

DeVine is entertaining enough, and the gag of watching Bronson and Barkin playing cool criminals can intrigue just about anyone. For all its flaws, The Out-Laws will win over those who flock to Happy Madison’s movies time after time, even if you'll promptly forget what you have watched.

Mission: Impossible - Dead Reckoning Part 1 isn't a perfect movie — there's one big fumble that's sure to be divisive — but it's damn near close.

Ruby Gillman, Teenage Kraken's story could've used a more well-rounded approach, but the strength of its cast and character dynamics make for a solidly entertaining watch.

It’s pretty darn great. It’s goofy, endearing, darkly funny, and incredibly relevant.

Despite a fantastic cast, Wildflower doesn’t live up to its potential, and uses its disabled characters as vehicles to drive the main character’s story, which will leave a bitter taste in your mouth after all is said and done.

Though The Perfect Find struggles with the romance aspects, its commentary on finding love late in life is a pure delight.

Unfortunately, Run Rabbit Run is less than the sum of its parts, and even an excellent turn from Sarah Snook can't elevate the movie beyond its basest instincts.

Indiana Jones and the Dial of Destiny doesn't quite match the highs that came before it, but with Ford's assured performance at its center, it's still an entertaining and nostalgic ride.

Bolstered by a moving performance by Jennifer Kim, the film is a slow-burn, character-driven thriller that brings us to question what is real and what is imagined.

Shannon and Neveu’s compassionate display of understanding different perspectives when it comes to something as tragic as a school shooting is simply beautiful storytelling.

No Hard Feelings is a dual coming-of-age story hidden inside a raunchy comedy that, despite its faults, is both sweet and hysterical, with a chaotic performance from Lawrence that shows the actress can do just about anything.

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.

Fangs Out is not great and hardly promising, but there is an admirable quality to it that you can’t help but embrace.

Simulant offers little in the way of great storytelling and is ultimately a visual pleaser, but nothing else.

Directed by Rob Savage, The Boogeyman does an outstanding job of terrifying without forgetting about the very human emotions and relationships that anchor and elevate the story.