Elfman’s directorial feature debut has enough to hold it together, including a tremendous cast and character dynamics that are thoughtful, interesting, and complicated.

Bolstered by an incredible cast, the film offers commentary on filmmaking as an art and the lengths the characters will go to outshine each other.

Abandoned has a few things in its favor, but the disappointing conclusion obscures them while making the movie's flaws even more prominent, which ultimately makes it difficult to recommend.

Brian and Charles is a soothing, lighthearted, and warm story about friendship and connection that is strengthened by its titular characters.

Nude Tuesday is incredibly entertaining and, though the central premise starts to wane after a while, the story picks back up as it nears its end.

The Good Neighbor struggles with convenient plot points and inconsistent characterization, yet is still a thrilling ride thanks to its menacing lead.

The talent is abundant on screen and behind the camera, but a flimsy screenplay fails them all.

Lightyear is a clever expansion of Pixar's beloved Toy Story franchise - packed with fun moments, warm sentiment, and downright gorgeous animation.

It may not do anything particularly innovative from either a storytelling or filmmaking perspective, but Spiderhead is proof there's still material to be mined from well-known ground when talented people are bringing the narrative to life.

To enjoy After Blue, one should be open to an experience that overtakes the senses. Despite the long runtime, it offers a wholly unique experience.

Hustle succeeds in being exactly the movie it sets out to be: A glimpse inside what it takes to get into, and stay in, the very competitive NBA.

The only real saving grace is the cast, who end up guinea pigs in a test of how difficult it is to overcome underbaked material.

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

Interceptor checks all the boxes in terms of making an action film that will grab the audience's attention, have one root for the hero, and let out a few chuckles (especially for one horribly done cameo) before promptly forgetting the movie exists.

Audiences are left with a puzzling mosaic of jump scares, one-note characters, and schlocky gore that will certainly disturb but won't leave much impact beyond its slim runtime.

Roberts' film succeeds where much contemporary coverage failed because of how invested it is in the difference between laughing with him, as the audience is taught to do, and laughing at him.

There's nothing worse in horror than predictability and while Unhuman tries to throw some curveballs, it misses the mark more than it hits its target.

Jurassic World Dominion is a messy but fun end to the Jurassic Park sequel trilogy, bringing franchise themes, characters, and nostalgia full circle.

Deep in the Forest certainly has a point of view, but it is ultimately a meandering slog.

There is nothing flashy about Davies' style and the found footage doesn’t feel obtuse; it feels imminent. The film sets out to execute a plan and does so without missing a beat. It is rare to extract so much emotion from a mostly technical achievement, but Benediction does just that.

Crimes of the Future has an intriguing enough setup, but it doesn’t know how to tie everything together, leaving the disparate pieces of the plot adrift and turning the film into a tedious watch.

A Chiara is a movie one not only enjoys watching unfold, but sitting with, mulling over, and discussing with friends in the days that follow. Viewers would do well not to let it pass them by.

Fire Island is a mesmerizing, joyous experience and one of the best modern adaptations of Jane Austen’s Pride and Prejudice. The film has also solidified itself as one of the best romantic comedies to date. It is filled with plenty of hearty laughs, heartfelt sighs, and heartbreaking moments, making it worth revisiting repeatedly.

Sure, the film may feel somewhat tepid in places, and it meanders, but the overwhelming wholesomeness of the picture will make one embrace its simplicity.

The Bob's Burgers Movie struggles to keep up the energetic pace set early on, but overall packs in plenty of jokes and musical numbers for a fun time.

A Perfect Pairing may not stand out to most, but its wholesome aura, charming leads, and beautiful cinematography is enough to warrant an enthusiastic watch. If the goal for any romantic comedy is to fill one with that particular, indescribable warm and fuzzy feeling, then A Perfect Pairing accomplishes that.

The Valet is a charming twist on a classic trope led by two delightful leads, even if it sometimes struggles under the weight of all it has taken on.

Even if it can't quite sustain the highs it reaches early on, On the Count of Three's success relative to its ambition is truly impressive, and those who aren't turned off by its very premise won't regret seeking it out.

Too often, though, the creativity gets bogged down beneath the references and standard mystery. Chip 'n Dale: Rescue Rangers still makes for an entertaining viewing experience, just as long as one doesn't mind the extra baggage.

Explorations of sex are a dime a dozen in Hollywood but Thyberg isn’t interested in sex, she is interested in people who are interested in sex. There is no judgment and no fetishizing. (The film even has time for a boner joke.) What more could one ask for in a film such as this?

Sadly, this adaptation fails to stand out from all the other sci-fi horrors about people being used for experiments. It doesn't even compare to the original 1984 film nor does it stand tall alongside great recent Stephen King adaptations like 2017's IT and 2019's Doctor Sleep. Firestarter is more like Pet Sematary and Carrie, a dull, exhausting remake that doesn't do anything new.

Ricci’s assured and robust lead performance helps build upon some exciting ideas in the script and is ultimately the reason to watch. She is thoroughly captivating and, while the film never reaches her level of excellence, it is still a relatively fun, wonky ride.

While Senior Year has certain moments that are indeed funny, it’s not enough to overcome the film’s many flaws.

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.

From a superhero perspective, Vogt's movie recaptures that sense of primordial awe that many of today's blockbusters have lost touch with, simply by setting themselves in worlds so obviously distant from everyday life. Whatever its impact upon release, The Innocents seems destined to be remembered, and hopefully the industry will find room for more movies just like it.

Operation Mincemeat is a solid movie, the only reasonable reactions to which are mild. A small smile and a nod of approval on one end of the spectrum, a tilt of the head and a dismissive shrug on the other.

In the end, Escape the Field is tolerable at best. It doesn't shatter any expectations, but it won’t be utterly hated if one decides to give it a go. There are more charming and innovative horror-thrillers about escaping a maze, but Escape the Field tries. For a first feature, it is serviceable for a small-budget venture.

It does not reinvent the wheel, but it engages viewers on a visual and cerebral level. There is a precarious balance between the heavy themes of the script and the upbeat nature of this Bad Boys-esque action film, but somehow it sticks the landing.

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.

Top Gun: Maverick is a rare sequel that is not only better than the original but retroactively makes Top Gun's story altogether deeper.

The film is a combination of great ideas that could have gone a bit further.

Filled with passion and a performance from Anaïs Demoustier that is equal parts energetic and blisteringly self-aware, Anaïs in Love is hilarious and romantic even if its resolution ultimately falters.

The film is a basic thriller with little to offer audiences who enjoy the genre.

There is a very entertaining movie somewhere in The Ravine, but it seems to have been left on the editing room floor.

Along for the Ride captures the magic of young adulthood and first love, delivering a relatable coming of age story with a sweet romance.

The action sequences are fun. Paired with the film’s visual style and horror elements, it fares well enough, though the personal journeys are lacking.

Despite its flaws, it encourages a re-examination of Apartheid South Africa and a closer look at the tiny sparks that lit the flame known as the Free Nelson Mandela campaign and the overall cultural shift against Apartheid.

The synopsis sounds straightforward, but there is a lack of balance from the start, and the film has an ill-mannered approach to telling a sensitive or impactful story about sex trafficking.

First and foremost, this remains a film for the fans. As such, Downton Abbey: A New Era is a triumph. After several tumultuous years, returning to a well-known universe with beloved characters is a balm and anyone who has followed along with the Crawleys will find plenty of enjoyment within the film.

It's good to have the actor, whose diverse filmography is certainly a memorable one, back in an exciting, eccentric big studio film.

Intelligently crafted and delicately performed, We're All Going to the World's Fair is fundamentally a portrait of loneliness, and explores how discovering an online community can alleviate, or exacerbate, a person's feelings of isolation.

The Tale Of King Crab doesn’t keep one's attention at first, but if the audience can make it past the period piece there is a thought-provoking western on the other end.

Those who may be new to the genre or merely want to disengage for a little bit will find merit in Choose or Die. But for bona fide horror fans, the derivativeness and the flatness of the execution is too much to tolerate.

Stuck somewhere between puzzle film and quirky comedy, between imitating David Lynch and parodying him, it draws its audience in with the overtures of a compelling mystery only to leave them stranded in what is fundamentally a failure of tone.

The result is a baffling and confounding mess that is either intended to make audiences laugh or is dead-serious in its pursuit. Whatever the intention, it is up to viewers to decipher what is most true to them.

While the film meanders for a bit and is longer than need be, it maintains a good balance between character dynamics and the thrill of the chase. And with a fantastic cast at its center, audiences will surely be entertained overall.

The film is at its best, visually and narratively, when it is deeply entrenched in metal. There is a visceral impact to the third act which truly hones in on what this film has been lacking from the beginning.

It isn’t sincere or as inspiring as it believes itself to be, but it also understands what its aims are, and that self-awareness is worth noting.

While The Northman has a lot to offer and is quite beautiful and masterful in its execution, there is something missing. The film begins to meander a bit in the middle before getting back on track and the lack of additional character development — anything that would have given the film more depth — prevents The Northman from reaching its full potential.

As it stands, Mundy's earnest but by-the-numbers approach to already lackluster material leaves the movie devoid of any sign of passion or creative spark.

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.

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.

All the Old Knives lacks innovation, but it still serves up an entertaining ride thanks to Pine and Newton's twisty dynamic.

The Secrets of Dumbledore holds positives and negatives alike, and that makes for an entertaining, but slightly unsatisfying viewing experience. There is magic to be found, though, and perhaps that is all that matters.

As the film marches to its conclusion, one will have some appreciation for the rotoscoping animation, the score, and the voice work from some of the actors. However, the murky narrative structure and the lack of a central protagonist only works against all the gory goodwill the film possessed.

As strong as the movie can be when committed to the specificity of its characters and setting, it asks too many of the big, unanswerable questions at the heart of the human condition, and the further You Won't Be Alone reaches for the universal, the more chafing its grip on the viewer becomes.

Despite a fine performance from Jared Leto, Morbius is a painfully mediocre superhero origin story, delivering a shallow recreation of better movies.

Black Crab is a little long, but the movie is too cool to notice.

At the very least, The Cow offers some food for thought and has a strong setup, even if it doesn't fully deliver a satisfying conclusion.

A stumble in the third act derails the whole adventure, bringing the enjoyment to a screeching halt. However, with some foresight, Windfall could have been a sure-fire hit.

Nuanced yet ambiguous, and imbued with raw emotion and care, Campbell-Hughes crafts a worthwhile story that digs into the aftermath of a near-death experience.

Enhanced by an all-in performance from Watts and impressive behind-the-camera work, Infinite Storm is a ride that's both engrossing and emotional.

The Outfit is an old-fashioned and masterfully crafted crime thriller that makes good use of its setting, charismatic cast and an excellent lead.

As it stands, however, Spin Me Round is all over the place and even its best moments can’t be saved due to a muddled storyline and lack of character development.

While X could have dug a bit deeper into certain aspects of the story, the film’s twists, layered themes, and intriguing character dynamics blend together to make it one of the best horror films of the year so far.

Moon Manor is an absolute triumph, one which celebrates life and embraces death while touching upon the bittersweetness of everything that occurs in between.

Linoleum is filled with nostalgia — brought to life by the dreamlike, vivid cinematography by Ed Wu — and the overlapping of memories, the mind losing itself, and the fulfillment of a fantasy that feels incredibly out of reach. Not everything comes together so smoothly or cohesively, but the film is a solid effort nonetheless.

All told, Rescued by Ruby is perhaps not the most revolutionary dog movie audiences are likely to find, but it will certainly do the trick if one is looking for something sweet and inspiring. With little real drama and plenty of adorable puppy shots, Shea's film goes down easy.

It is great that this blended family is so diverse, but if there is no thoughtful integration of their stories, they remain merely set dressing.

The script is far from perfect but if one squints, there is occasional fun to be had.

Is it a well-made film? Absolutely, and Morosini has a strong vision for how to shape a story and characters right out of the gate. Unfortunately, that doesn’t turn I Love My Dad into a must-watch.

There were enough pieces here to create something interesting, but it never fully came together.

Ultimately, John and the Hole is an interesting film that encourages contemplation. Those looking to be thrilled or disturbed will likely be disappointed; yet, audiences who appreciate a strong aesthetic, or simply want to see Michael C. Hall covered in mud, will find John and the Hole satisfying.

Albeit a good-looking movie with a fascinating premise, The Seed is constantly being held hostage by its poorly written script.

Gold isn't a gut-punch, but it lulls to sleep before spearing with a jagged branch.

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

The Changed is a poorly-executed alien invasion riff-off, bereft of any sci-fi elements worth delving into or relatable characters worth rooting for.

The Long Walk is a film that requires patience from the audience as it unfolds; there is plenty to digest. With a stellar ensemble cast and a challenging, emotionally-driven narrative, this atypical ghost story will nestle into viewers' minds until Mattie Do’s next directorial triumph.

Ultimately, Huda's Salon is a case of an exciting concept that can't maintain its own momentum.

Against the Ice is a searing portrayal of the cost to explore in the early 20th century.

The filmmaking of Lucy and Desi will not blow anyone away, but the heart will take audiences on an emotional rollercoaster fans of the couple won't soon forget.

Asking For It is a pop-rock take on the revenge thriller that tries to take a stance, but fails to make a case for why it exists. Asking For It often feels like a mansplaining version of what a modern revenge thriller should be.

The Adam Project is a charming and fun sci-fi throwback, fueled by a strong script and one of Reynolds' best performances.

There is no single frame of this film that isn’t maximizing this story's potential, its wit, humor, or charm. Every moment counts and transforms Turning Red into a visual feast.

Is The Desperate Hour tedious and dull? Without question, yes. The real issue, however, is that the subject matter is so inappropriate for this kind of story that the entire movie-viewing experience is tinged with a sickening hue.

Equal parts hilarious and heartwarming, My Best Part is a sweet exploration of the absurdities of life and a celebration of what's worth living for.

Though Meester puts on a solid performance atop an intriguing plot, The Weekend Away doesn't supply enough thrills to make it an entertaining watch.

As a film birthed from the pandemic, the presentation already feels outdated. There is an attempt to revitalize the format, but it falls flat. All in all, the family dramedy has all the right pieces, but, like any dysfunctional family, they don’t come together in the most cohesive of ways.