La Dolce Villa is a feel-good film that forgoes proper tension-building for a more headache-free delivery. The result is a mixed bag that I enjoyed occasionally, though its inability to spark a greater emotional reaction is the film’s greatest weakness.

Though the film's final act begins to drag, and many of the same themes are touched upon multiple times, You, Me & Her must be praised for the clarity of its vision.

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.

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

Captain America: Brave New World lacks the entertainment of an MCU movie, despite compelling performances from Anthony Mackie and Harrison Ford.

While the animation may struggle to convey some character nuance, its voice cast is more than up to the task. This is particularly true for Doug Cockle.

It could've made for a sharp comedy, but there's an ickiness that overwhelms the whole movie.

Jazzy relies on the look and feel of its world to communicate what Jazzy is feeling and succeeds in painting a universal portrait of growing up.

The whole Armand cast is stellar, perfectly conveying the characters' shifting allegiances and uncertain moral stances.

The film is ultimately an action comedy that is as sickly saccharine and over-the-top as Valentine’s Day itself. For a cool hour and 23 minutes, Love Hurts allows us to enjoy every minute of its absurdity, and you’ll never look at a boba straw the same way ever again.

Broe is able to go beyond a clichéd queer cityscape to capture something that feels achingly real, all the more so in the evolution of Johan and William's relationship. There's a sadness here, but it's blunted by the fact that it plays out in a way that feels very true to life.

It’s an intricate and beautifully crafted work of art that’s quietly meditative and lovingly told.

With certainty, Cumberbatch put his all into this role. So, if for nothing else, it’s worth it to see him.

Last Days is as frustrating to watch as it is to try to understand this avoidable tragedy.

For a directorial debut, Shanks hits it out of the park with his delightfully squirm-worthy horror comedy.

An emotional movie about family that showcases the strength and togetherness of rural America through a vibrant, moving presentation.

The Things You Kill may seem like a simple revenge drama, but it allows itself to be so much more through form and story.

Consequences, choices, love, identity, and paranoia are all at the center of this mesmerizing thriller.

All in all, Heart Eyes is a fine horror movie. It has a fun and unique idea, and the first act of the movie is very strong, but Heart Eyes loses its way and culminates in a middling-to-bad third act that squanders all the potential of the premise and beginning.

While the film has its moments of genuine humor, it never lives up to the energy or intrigue of the opening scene. The rest of the film is an empty, exhausting watch that never truly builds towards anything.

Despite some of Bunnylovr's shortcomings, Zhu has a knack for filmmaking, and it's an exciting debut for the young artist.

Not everything works and the humor tends to run its course, but Gates puts a solid effort together given the limitations.

From start to finish, the movie feels like a half-baked idea which never had time to be refined or improved.

At times, the movie is deeply compelling, but its complexities can get lost in the shuffle and repetition of the same points. Striking cinematography and philosophical reflections can’t make up for this too-slow film that pokes at life’s meaningful moments without inspecting them further.

Rebuilding chooses a gentle, deliberate approach to its story, making it all the more powerful in its observations on what it means to find a home and community in places and ways you'd least expect.

Dog Man is trying to tackle too many themes and morals at once, creating a mess instead of a cohesive and accessible lesson.

Witherspoon and Ferrell play off each other fairly well, but I'm not convinced they have the chemistry necessary to pull off some later developments that I won't spoil here (but honestly, it's easy to guess what it is fairly early on). Throw in some big cameos that really don't go anywhere — the trailer already revealed Peyton Manning, who does nothing — and you get a fit-to-bursting comedy that's only intermittently successful.

Kiss of the Spider Woman is entertaining and invites us into its fantasy in a bid to forget reality for a while. And for the two hours I was watching, I did.

Fortunately, Brave the Dark does deliver an engaging and enjoyable narrative, with excellent performances, an intriguing and compelling plot, and an important message worth listening to.

The combination of cast and storytelling makes for an emotionally gorgeous, hilarious, and touching film that you’ll want to rewatch over and over again.

It’s less of a straightforward narrative and more of an experimental one. But it’s not so outlandish that it’s inaccessible.

The Ballad of Wallis Island is effortless in its execution and breezy in its pacing, which makes its emotional undertones all the more surprising and affecting.

Blichfeldt pulls out all the stops for this film, giving us a cinematic experience that is ripe with depth and concise commentary, all wrapped in a grisly fairy tale world that is as immersive as it is intense

Twinless is designed to make you squirm, but it's through this discomfort that Sweeney finds humor and heart.

Along with its genuine humor and a frank exploration of the different ways queer people live today, Jimpa is an emotional experience that feels authentic in a way that can be difficult to capture.

Night Call is a stirring and compelling film that immediately grabbed my attention and maintained it throughout its runtime.

I’m Still Here is an evocative, nuanced portrait of family and the lasting imprint of politics.

For those with even a general interest in gaming and looking for a charming twist on the theater industry, Grand Theft Hamlet is still worth a watch.

It's a visceral experience, though it doesn't reach those epic highs because the romance, while it works on paper, doesn't quite materialize as expected.

Companion wants to surprise you, but has no real interest in trying to outsmart you.

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.

The result is a solid entry into the body horror genre.

Alarum fails on all counts, and the few positives aren't successful in bringing the movie out of the gutter.

Overall, Star Trek: Section 31 can best be described as a fun time. And if it sometimes feels a bit hollow, well, not every Star Trek story has to have profound commentary on what it means to be human.

It's a riveting film, but one that left me feeling hollow and ultimately frustrated with the continued way in which much of American cinema tackles crises like the one at the center of September 5.

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.

It's not outright terrible, but it's nothing to get too excited about, either. There's even a sweet subplot about mother and daughters and familial trust. It's an overall cute family movie and anyone who adores Diaz and Foxx will find a way to enjoy it.

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

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.

It's ultimately Hunter and Brandy's performances that keep The Front Room from feeling like a complete missed opportunity and an occasionally engaging watch.

The film, comprised of over 20 stories, is a cry for help. A cry for humanity. A cry for justice.

Mothers' Instinct is a compelling thriller that elevates Anne Hathaway and Jessica Chastain to incredible heights. The film is a tense and terrifying story of love, loss, and deception that sees people pushed to their limits.

The unfortunate thing about Peter Pan's Neverland Nightmare is that it fluctuates far too much between a sincere thriller and a tongue-in-cheek take on the character that it's just never as fun as it could be.

The spectacle doesn’t mean there’s no heart at the story’s core, and it kept me watching despite being overlong.

The Damned has been made to a high standard. The film is extremely well-crafted; the cast, the period setting, and the eerie and isolated fishing village where the story plays out all help to create a tense and believable story.

Despite some of the movie's flaws, Santosh's cast truly shines, particularly Shahana Goswami in the titular role. Serving as an audience surrogate, Goswami nicely balances the feeling of curiosity and uncertainty as she becomes more embroiled in the case and her job.

A couple more action set pieces would have also helped the pacing from growing too stagnant as, like its predecessor, Den of Thieves 2 is far too long at nearly two and a half hours. It’s bloated and, with nothing too exciting going on, the wait for the heist itself starts to drag. Despite some tension, there’s no real sense of urgency at any point. The film sets up yet another sequel, but Pantera lacks the passion and consistency needed to dredge up any genuine excitement for yet another film in a struggling franchise.

It's artful, atmospheric, and observant; a slice-of-life film told in a hushed tone. It's dedicated to recreating a specific time and place and dropping us into it. There's a gentle steadiness to the way it moves.

The Count of Monte Cristo is as much a swashbuckling adventure as it is a warning about the dangers of letting yourself get lost in the desire for things that don't matter. With a gorgeous score that uplifts every scene, making them more tense, romantic, and devastating, and sets and costumes on par with the best period pieces of the 21st century, everything about the movie is planned and carefully executed.

This story and these women deserve better.

This is a franchise that has treated its supporters with respect while opening its arms to newcomers. Because of that, the weaker elements of the film feel unimportant in the wake of a genuinely entertaining time that will no doubt thrill audiences of all ages.

Ultimately, the film has some heartfelt moments and themes, and while dark and violent, it is, in the end, an uplifting story about family, legacy, and hope.

Assisted by franchise veteran Lebo M., Miranda brings his addictive melodies and spry lyricism to the movie and creates a soundtrack that can hold its own against the original.

The chemistry between Booth and Pill is a large part of what makes Young Werther work.

This hopeful and insightful look into the life of such an icon creates an inspiring and beautiful story that stands tall from the beginning until the very end.

Scrap is ultimately an unflinching and sensitive portrait of a woman faced with the terrifying uncertainty of rebuilding her life. Though some of the harsher realities of being homeless aren't explored in much depth, and the ending is a touch too neat, Kerr crafts a compelling journey for us to go on, one that should linger after it's over.

Egerton's got something in this vein. Cruise-esque exceptionalism, but cut with relatability like he came from the everyday world but clearly wasn't meant to stay there.

After nine years, Aaron Taylor-Johnson returns to Marvel superhero fare, but while Kraven the Hunter has potential, it's a middling origin story.

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.

It's a strong, engaging story that showcases some striking animation, and if I am to return to the wider world of Peter Jackson's Middle-earth, this seems to me an ideal way to go about it.

We get two influential actors reuniting on the big screen in a film that is comparable to their acting gifts.

It’s the kind of movie that’s simultaneously a feel-good tear-jerker that’s deeply personal in the themes it tackles.

while the film may meander some, von Horn and Langebek’s script never loses sight of the story, offering something that is deeply bleak but also worth thinking about.

What really makes That Christmas such a joy to experience is the colorful details, from the writing to the scenery to the set and character designs to the atmosphere.

The result may not be groundbreaking, but it's fun and it does what it sets out to do, creating an interesting supernatural horror that keeps tensions high.

Embedded in its humor is a sense of melancholy that heightens the emotions prevalent throughout the film, surprisingly tugging at our heartstrings.

Get Away does a lot with the resources it possesses and isn't hindered by them, delivering a strong story with fun performances. It has a strong future as a cult comedy horror movie.

It may not incite fear in a classical sense, but it haunts us at every minute of its runtime. Gorgeous cinematography and an exceptional score elevate this tale of obsessive torment. Sure, we’re in a time when remakes are becoming more of an annoyance than anything, but with a final product like Nosferatu, it almost seems silly to care about these things.

This shocking horror comedy is a train wreck that you can’t look away from. Whether the filmmakers intended this to be the case is a question on its own, but I’m sure Krazy House will acquire a following.

While Our Little Secret passes the time just fine when Chenoweth and Lohan are butting heads, it has nothing to offer that hasn't been done better by even the most insipid of Netflix Christmas rom-coms.

Despite subverting expectations and being edgy in its approach, the lack of energy and fearlessness keeps this story from reaching its full potential. Weiss's directorial debut is not a dud, but charm can only get you so far.

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.

As the film progresses, and Melody continues to find new and innovative ways to express herself and communicate, she finds a new grasp on life, which helps her true personality shine through. This ultimately creates a heartwarming and engaging film that constantly challenges expectations and forces us to assess our own bias.

It sits among some of the best films Bustamante has created and stays with you long after the final scene.

Compared to other, stronger animated films, Spellbound sits comfortably in the middle. Kids will likely be delighted with it — though at nearly two hours long the wait to get to the end might be a struggle — and it offers just enough for them to keep watching.

The film is unique and intriguing, but it struggles to tell its own story in an effective way.

With Stiller at the center, Nutcrackers is a solid, if not incredibly memorable, holiday effort.

Flow makes us think and feel in equal measure.

For fans of Murray's career, The Merry Gentlemen gives the actor another chance to shine in an otherwise unremarkable movie.

Save for the tiniest of things, Wicked is a worthy screen adaptation of the musical, guaranteed to make viewers feel like they could defy gravity too.

It’s the little moments and details that turn it into something more profound and lovely.

Rather than pushing the streamer's holiday content in a unique new direction, the movie delivers a rote, cookie-cutter fish-out-of-water comedy that proves it's really no different from any other high-concept Netflix rom-com.

Gladiator II really soars when it does the unexpected and, for the most part, that only happens when Washington, Quinn, and Hechinger are onscreen. It doesn't make for a well-rounded film, but it does make for an entertaining one. For all its faults (of which there are only a few), Scott is still fully in control of this massive undertaking, letting his contemporary sensibilities bleed into the gravity of the past.

The film is jam-packed with fun tidbits and celebrity cameos that will surprise a lot of Vandross' fans — the casual and the hardcore. Considering his level of fame, it’s strange we haven’t gotten a biopic or definitive piece of fiction with Vandross at the center, but Porter seems to have made the definitive Luther Vandross documentary and it's worth every minute of our time.

While Super/Man touches upon the role, its impact on Reeve’s career and personal life, the documentary is more of a touching ode to the complicated, charming man behind the cape, and the perseverance he showed following his accident.

Though the movie's final act somewhat stumbles through its attempt at a big twist, it proves to be a refreshing approach to the formula.

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.

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