Jennifer Lawrence and Brian Tyree Henry are excellent together. They have great chemistry and their conversations and jabs at each other feel natural.

In the end, Goodnight Mommy contains a great balance of intrigue, shock, and entertainment. The film also captures the need for a mother’s love and truly thrives when it settles into the more intricate and intimate part of its storytelling. The cast does an incredible job conveying these underlying themes in addition to leaving enough open for audiences to interpret and figure out on their own.

The Inspection has a few poignant moments, but its lack of introspection, well-developed character dynamics, and exploration of the systems in place keep the film from reaching its full potential.

Dark and violent at times, The Banshees of Inisherin's use of juxtaposition make for a compelling and simultaneously hysterical film for the ages.

While the film is determined to live in the pain felt and lobbed at its main character, there are moments of gentle vulnerability and contemplation in its exploration of guilt, redemption, grief, and trauma.

Chevalier, about the violinist and composer Joseph Bologne, is magnetic, a historical fiction that elevates itself beyond the conventional biopic to deliver a memorable drama about its subject's life.

Hatton offers an engaging approach towards his storytelling. By concentrating on the intrigue and horror elements within his feature, the end result isn’t perfect, but there’s plenty of fun to be had throughout to make the watching experience an enjoyable one.

While the film could have spent more time exploring its central characters, their emotions, actions, and how time has shaped them in the intervening years, My Policeman remains a tender, heartbreaking film that has one of the most devastating and emotional final scenes in recent memory.

Elevated by phenomenal performances from its cast, the film tackles a difficult subject with thoughtful sensitivity, levity, and spirited discussion that will leave audiences thinking about the film and its central premise for a long time after it's over.

Prisoner's Daughter may boast a stellar cast, but the movie is fraught with anxious and unrealistic characters, a terribly misaligned script, and a redemption story that hangs on by a fraying thread.

That familiar question of “am I a good person?” will linger with viewers just as it does the characters, making it a fascinating watching experience as much as it is a good time.

Moonage Daydream doesn't really concern itself with David Bowie’s effect on the world; it lives and dies inside his own mind, and the decisions he made that impacted his art.

Devotion soars when least expected and is brought to life by its talented ensemble cast.

It's a fun and intriguing ride that, though it leads to an ending that one might guess is coming, has great energy. Clemons is a charismatic lead who delves fully into her role. When all the puzzle pieces finally come together, the film fires on all cylinders and makes for a magnetic watch.

Confess, Fletch isn't a ringing endorsement of rebooting projects from the 80s; instead, it is an excellent showcase of Jon Hamm's comedic chops, a well-known skill that has been primarily misused until now.

Ungar’s Bandit entertains because of genre alone, but the ambiguous messaging leaves much to be desired.

Sadly, Dig has little to offer audiences other than its magnificent soundtrack.

Ultimately, Railway Children struggles a bit in balancing its tone and grand ambitions. However, for those looking for a sweet story about the power of friendship and childlike willfulness, this movie just might win them over.

Lou is a quiet thriller that takes a deep dive into the consequences of one’s actions. The film enables Janney and Jurnee Smollett to command every scrap of attention through physical and emotionally compelling performances.

With Pugh's powerhouse performance elevating the script and an engaging central mystery to keep the plot moving, the film has enough going for it to make it a pleasing watch.

There's an air of tranquility about it and Spielberg does well to balance a few comedic moments with a whole lot of heart. Even the more dramatic moments are depicted with patience and warmth. It's as if Spielberg is softly wading through his own memories, pulling open the doors to see each one with a lot of light and love in tow.

Weird lives up to its name. It's utterly ridiculous, a satire of biopics in the best way. It exaggerates anything and everything that happens (and doesn't happen) in Yankovic's life to the point of being so over-the-top one can't help but laugh at its absurdity.

Robinson's film is not without things to say, and the combination of a dialed-up Mendes and a dialed-in Hawke make receiving that message a fun, engrossing experience. It is, in other words, exactly what it set out to be, and with any luck, it'll be named alongside the titles it so admires on many a teen movie listicle to come.

The acting, from both Black Panther's Letitia Wright as June and Tamara Lawrance as Jennifer, is a particular standout. Their commitment to delivering intriguing performances as troubled twins elevates this weak script and enables viewers to become fixated on what was happening to them.

Tom George returns to directing, attempting to take on the genre with humor and flair. Relying heavily on whodunit tropes, See How They Run is a little too stale and unfunny for its own good.

Minor hiccups aside, The Woman King is a blockbuster with a lot of heart and a clear story that is tightly written; it’s well worth the watch.

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.

Audiences may not have much of an appetite after watching the film, but the experience, like Slowik’s promise to his own guests, will be one they won’t soon forget.

For those who may not have seen X, Pearl may be intriguing enough for them to go watch the original film. As both a prequel and standalone horror film, however, Pearl comes up short.

Though The Alternate could've been better served by a deeper exploration of its themes and characters, it offers a unique take on a familiar idea.

Glass Onion: A Knives Out mystery is a strong and fulfilling sequel. It will leave fans wanting even more of the charismatic detective and the situations that bring him into the middle of enticing whodunits that put his mind to work. The cast, the writing, and the twists and turns the story takes will leave the audience intrigued right up until the very end.

Already working with a shakily thin script, Jákl weighs his movie down with an overly self-serious aesthetic, to the point that even the target audience might find the two-hour runtime a tough sit.

In End of the Road, Shelton transforms an already compelling script into one about family, motherhood, and survival. And it is nothing short of entertaining and refreshing.

Speak No Evil shows viewers the dangers of not speaking up about discomforts for the sake of politeness, and it’s horrifyingly twisted.

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 needed something to make it feel fresh beyond dazzling visuals, but by stripping away much of what made the first film great, Pinocchio feels like the same old story, even if its fantastical elements shine onscreen.

Wire Room is a crooked cop action drama that plays out like a low-budget, straight-to-VHS schlock from decades past

One Way won’t carve a place into the crime thriller pantheon, but its most notable achievement should be setting the stage for Andrew Baird and Colson Baker’s inevitable rises in the film industry.

By the end of Dragon Ball Super: Super Hero, fans will feel both nostalgia and elation for the direction the franchise is going.

Miller’s film is deceptively simple, but there is a tremendous amount of depth and nuance. Viewers will walk away thinking a lot about the film, and a second or third watch is needed to fully absorb the layers within its story.

The Good Boss is a pitch-black comedy with a pitch-perfect performance by Bardem, playing prime dartboard fodder for the proletariat.

Whether that be through exploring mental abolition versus determination or even activism versus an individual’s special needs, Hamm’s latest had the potential to say a lot more than what was accomplished. Instead, he doesn’t do much with either, and he relies a little too heavily on his actors to take this uninspiring script towards sincerity.

It never digs deep enough which, when looked at through the fairy tale lens, is appropriate, but ultimately seems like a missed opportunity for the film.

Orphan: First Kill is a kooky romp, way too relaxed to be considered a psychological horror.

The story is very high concept and the tone is completely aware of itself, leading to a truly enjoyable experience

It’s unapologetic with showcasing the intricacies of girlhood, and it’s a joy to experience and witness sexuality, queerness, and female friendship in its honest totality — free of judgement and restraint.

With thinly written characters and a narrative confined to moments only serving to push Mike and Kate to the height of insanity, this is about as disappointing as it gets for a film with such promise and potential.

Me Time may not be a groundbreaking entry into Netflix’s catalog, but it offers reliable laughs for anyone needing an escape from their own hectic reality.

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.

In the end, Samaritan commits a cardinal sin of the superhero genre: It thinks a high-profile actor with vaguely defined superpowers is enough to make the film interesting when it clearly needs something more.

There are some things that Into the Deep does well, but it is ultimately too slight to really commit to any of its interesting ideas. By the time the violence between the three characters ends, one just wishes their conflict had included a bit more flair.

Though leading lady Lili Reinhart does her best, Look Both Ways struggles to make a lasting impact with either of its dueling timelines.

Summering is a slow and ultimately boring mystery that does little to portray youth in a meaningful way.

With predictable twists and one grating character, the Lionsgate movie tries to do something different from others like it, but it can't quite reach the heights that its main characters aren't (and should be) afraid of.

With nothing of substance to chew on, the only thing a (committed) viewer can do is strap in for the 90-minute runtime and wait to hear a tune they like - and hope that, once it's over, they emerge earworm-free.

With stuntman J.J. Perry behind the camera, Day Shift is a killer upgrade to vampire lore and a damn good time.

Aided by an excellent young cast, Secret Headquarters is a fun adventure for all ages, even if certain elements feel superficial in the end.

Easter Sunday starts off well enough before getting off track completely, too preoccupied with aspects of the story that aren't good and don’t matter, sacrificing its characters and their relationships with each other as a result.

They/Them is impactful for its reason for existing and the excellent ensemble cast that deserves to shine. The film is not unwatchable; it is merely without excitement. Satisfying as it is for the film to directly take aim at dangerous institutions, there is sadness in knowing this horror couldn't find a happy middle.

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.

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.

Whitebloom struggles to bring the excitement into his heist film, Stowaway, his feature debut, like he’s done in past music videos.

Luck may not reinvent the wheel — at this point, what can? — but it does what films like this do best, bringing forth a message about family and perseverance with humor, heart, and a lot of magic.

Ultimately, Bullet Train is one of the most entertaining and flashy films of 2022, thanks to lively performances, incredible fight setups, stylish cinematography, and punchy writing.

There is a great deal of cringe comedy in Not Okay and the actors all pull it off well. Shephard's social media black comedy is an entertaining film that may leave audiences thinking about their own relationship to social media.

All told, Thirteen Lives is a solid and compelling watch that stands as a testament to people's resilient spirits.

It is easy to see the potential in the first act, but Purple Hearts leans too much into over-sentimentality, with narrative tricks designed to trigger tears and subdue thinking.

Sharp Stick is charming thanks to great performances, but the lopsided script doesn’t reach its full potential.

The movie asks a lot of questions and juggles a lot of ideas, most of them good, but key pieces don't stick their landing - undermining the overall impact of what Novak, clearly, intends to say. A missed opportunity, given that "finding your voice" is one idea that Vengeance spends a lot of time exploring.

What A Love Song lacks in execution it more than makes up for in stellar performances and beautifully directed scenes.

Johnson and Hart have proved a formidable movie duo in the past, but without their usual on-screen charm, it's tough to get invested in the stories of Krypto and Ace. Even with their star-power and a slew of talented performers making up the supporting cast, DC League of Super-Pets doesn't offer much.

Still, by choosing to play with the conventions of paranormal investigation TV shows and grounding the story in character, the film finds a way to make what it's working with both tense and fun, even if a couple missteps chip away at what is an otherwise effective finale.

It doesn’t always capitalize on its strengths, but Don’t Make Me Go is a journey worth taking thanks to fantastic performances from its two leads.

It's an absurd and stunning story, but it also holds such heart and authenticity that it feels deeply relatable.

Anything is Possible is great for what it is, but its potential is even greater.

With so many people and life going back to some semblance of normalcy, Alone Together may feel slightly too late, but Holmes' film offers something worth engaging with.

Nope, Jordan Peele's movie about a bad miracle, offers a thrilling and humorous twist on Hollywood sci-fi - and serves as a love letter to filmmaking.

The sense of timelessness and the sanctuary (itself a bubble made to burst) add a listlessness to the film that only underscores the constant shifting of the family's foundation. Glasshouse may build to a climax that many can see coming, but that's beside the point. The conclusion plays off what has come before it, feeling like a memory that could have easily been forgotten.

Between the Russos behind the camera and the talent in front of it, The Gray Man is a fun and exciting action thriller. It may be in the vein of cheesy 80s and 90s action movies, but that makes The Gray Man all the more entertaining and rewatchable.

The film is unsure if wants to be a portrait of a man on the verge, a slasher, or a psychological chamber piece, and it ultimately fails to live up to any of these ideas.

What makes it practically perfect is that it accomplishes everything it sets out to do. It is funny, exciting, beautiful, and all-around meaningful.

Where the Crawdads Sing stumbles a bit in its transition from page to screen, though it is aided by a great lead performance.

Though the performances are all very enjoyable, the dialogue pulls down the script. Despite this, however, Karmalink is unique, introspective, and beautifully imperfect.

Led by a great Lesley Manville, Mrs. Harris Goes to Paris is a delightfully wholesome film and the very definition of a "feel good" story.

Fully engaging with the film, as one might be forced to do in a theatrical setting, will prove unrewarding — both intellectually and emotionally. But it's the kind of movie that's perfect for streaming while doing chores, or to turn on after a long day of work with the intention of putting one's brain on standby.

There are bound to be viewers less familiar with the source material who are enchanted by Persuasion. However, the modern touches are just too persistent to ignore, and they take away something that the movie urgently needed — genuine depth.

While the film is romantic and poignant in parts, the whole thing falls apart when it relies on the central couple, who lack intense chemistry and substance.

Thor: Love and Thunder is a return to form for the MCU: delivering a great solo story that is emotional, exciting, and downright funny as hell.

Given some time to think on it later, viewers might have trouble pinning down what it actually had to say about all those thorny subjects it seemed to be about.

While Minions: The Rise of Gru still can't entirely justify itself, it does provide a far more heartfelt and fun outing than its predecessor.

It is a solid sports biopic that aims to celebrate the cherished memories the Antetokounmpos have and their continued success as a united, happy, and prosperous family.

While it ultimately reveals everything too late, the film still feels fresh and, unlike plenty of what is released today (on podcasts and in theaters), actually does have something to say.

The result is a beautifully shot and well-acted live-action short story, but one that's missing enough connective tissue, fresh ideas, and time spent between its characters to produce a lasting feature film experience.

An effective portrait of ambiguity accompanied by a stellar lead performance, Apples' contemplative nature hides nuanced questions about the modern age underneath its placid surface.

Most of all, the movie reaffirms the fact that we still don’t have the iconic, big-budget Hart movie his career has been working towards.

Elvis seems perfectly content being a glitzy, bejeweled extravaganza, even when the film’s nearly three-hour runtime leaves its energy — which never fully recovers after the first half — waning by the end.

This low-budget sci-fi film is actually doing something quite clever, but by keeping it hidden until the final minutes, it leaves viewers with a character drama that just isn't compelling enough to merit revisiting, even after learning how all its pieces fit together.

The film's comedy is the cherry on top of a disgusting meal one has to hear to believe.