A tale of power and misogyny masquerading as honor, the film is engaging and occasionally funny, embracing its themes despite a narrative imbalance.

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.

Ultimately, Jay Kelly is a very moving, sentimental film that succeeds effortlessly at telling a great story, but whose attempts to go thematically deeper often feel repetitive.

Often ridiculous, yet perennially fun, Psycho Goreman is a clever, schlocky genre-mash with characters one cannot help but ultimately root for.

All told, Fresh has a lot of potential even though it doesn’t fully deliver. Cave makes a case for herself in a directorial debut that is ambitious, even when all the pieces don’t seamlessly fit together.

Annette is extravagant and ambitious, but it’s also frustrating, pompous and emotionally flat.

Davidson is a triumph in The King of Staten Island, delivering plenty of fun R-rated humor in an emotionally compelling story about growing up.

Fortunately, Haikyu!! The Dumpster Battle is a more than worthy follow-up to the original anime, with its writing, animation, and overall direction being as great as the anime’s, if not greater.

The movie's memorable moments and tackling of a sensitive, real-world subject were expertly done, something that makes it stand out from other true story films that have been released in recent years.

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.

Although its shoddy attempts at horror are more immersion-breaking than intended, Strange Harvest is still a monument to how well the true crime genre can be employed for fictional storytelling.

Sissy sacrifices its themes for violence and surface-level explorations of psychological realism, making it as frustrating as it is compulsively fun.

Director Christopher Landon's Freaky is breathlessly stolen by Vince Vaughn, who delivers a character both terrifying and lovable in equal measure.

The Legend of Ochi isn't just a throwback in terms of style and narrative. It recalls a time when audiences had longer attention spans and were more willing to suspend their disbelief, and there's no better reason to do so than to experience The Legend of Ochi.

It doesn't reinvent the wheel, and it shouldn't have to. What it does prove is that queer stories, more often than not, add new layers to narratives that have been done before.

The Surfer is a slow-burn film that requires a lot of patience. Cage does his best with limited material, as his character doesn’t have much depth beyond wanting something and aiming to get it.

The film is poignant and meaningful, with an appreciation for life that reminds us why we live it and how to enjoy it as well.

While fans of the Mission: Impossible franchise might shed a tear watching this emotional tribute, all audiences will be swept away by its action.

Though messy at times, Black Panther: Wakanda Forever is an impactful examination of grief aided by excellent character work and exhilarating action.

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.

The Wrecking Crew has finally put Momoa and Bautista on screen together and, thankfully, it largely lives up to the potential of the acting duo.

There are a lot of things that could have gone wrong, but Triplett directs with confidence, bringing style, intrigue, and character depth to a story that will keep you engaged and holding your breath in suspense for what comes next.

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

Run showcases the whiplash intensity and cold calculation of Sarah Paulson at her peak, with intense moments that will leave you breathless.

Generally, No Man of God takes a more mature and nuanced look at human evil, rejecting the impulse to glorify or romanticize figures like Bundy, but also reminding audiences that moral corruption manifests in many forms.

Even if some of the finer points of the plot don’t make sense and the pacing starts and stops, the best way to enjoy Silver Haze is not to think about it, but to feel it.

While I wish the movie's tone and story were a little more even, there's definitely enough here for many to enjoy.

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.

Structurally, Fitting In isn't perfect. It overuses the montage and features dialogue that leans more into preachy territory than Lindy's natural expression of their feelings. However, it's impossible to accuse the film of being anything less than emotionally truthful.

Even though it doesn’t take its own storyline seriously enough, Smile 2 is entertaining. Don’t expect the horror film to have the best commentary on mental health issues, but be ready for some jump-scare fun.

More Millennial introspection than sci-fi movie, what Save Yourselves! lacks in world-building, it makes up for with charming relatable comedy.

She Dances seems almost scared of its own premise.

Had its story structure been stronger, Worth could have an Oscar contender. As it is, Worth is an interesting testament to a particularly harrowing period of time — one that, for many, still feels a little too raw.

Palestine 36 is beautifully shot and researched, and peppered with historical touches.

With Holland and Mara, the commitment to The Dutchman is apparent and though its ending feels as if things are wrapped up a bit too cleanly, the film succeeds in being an unnerving odyssey over one New York night.

The psychological thriller is clever, sharp, and intoxicating, even in its eeriest moments. There’s a charm and depravity that are all too real, hanging over every scene as it makes us wait with bated breath for the big reveal that comes in glimpses and acts as stark contrasts to the characters’ initial excitement.

Horror movies often have to rely on the stupidity of their characters for the story to work: victims in waiting either make terrible decisions in high-pressure situations or simply lack any survival instincts until the bodies start to rise up. Speak No Evil plays with the audience by subverting those expectations very precisely, posing the question of when exactly you would have walked away from all the red flags.

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

Ultimately, The Kitchen is a film with its heart set on two stories and only succeeds in telling one.

This isn’t a film that relies on gimmicks and shock value. Instead, first-time feature directors Johnson and Merrick masterfully craft a story that relies on social media and technology to the benefit of the script. And thanks to a well-framed story and clever structure, everything comes together by the film’s end, revealing the answers from clues that just may have been there the entire time.

The film's first act makes you think the Japanese forces trying to stop Godzilla will eventually thin out and reveal someone the movie will focus on. But that doesn't happen, and the result is a film without an onscreen focal point.

Despite being a story about a world full of imagination and incredible adventures, the narrative moves slowly, hoping to succeed thanks to the animation.

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

While the movie starts off on a pretty straightforward note, one of the things that took me by surprise was just how often I was left guessing how the story was going to play out.

Asleep in My Palm succeeds when it finds the human connection in its message, but gives too much time to moralizing conversations and not enough to character arcs.

Mulan is a perfectly fine live-action adaptation, delivering some Disney magic and gorgeous visuals, but it's ultimately just an average action movie.

The Last Showgirl isn't perfect - it's melodramatic by design, and it wears its heart on its sleeve. But Anderson's raw and unfiltered performance, one clearly tailor-made for her, makes up for the film's weaker elements, as does the chemistry between the cast.

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.

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.

What You Wish For posits that the cycle of working for an evil, self-righteous entity never stops.

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

Because of its powerful, universal themes, terrifying creature, and strong characters, It Feeds delivers a resonant horror experience about the pain of shared trauma.

Cyrano is a magnetic, musical romance that peels back the layers of its title character in new, exciting ways.

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 has its merits, an excellent supporting cast & fun musical numbers, Wonka wobbles in its journey & storylines while remaining heartfelt.

The film is full of heart and humor, and the message of self-acceptance in a world where there is pressure to be anyone but oneself is affirming and lovely. Bolstered by a fantastic performance by Verma, Mustache makes for a sweet and wholesome viewing experience.

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.

Layne's performance is a real strength, and she does a great job of not only anchoring us in her character's emotions, but embodying how she feels about singing in any given scene.

The Sky Is Everywhere may be a visual treat, but it's soured by a complete lack of balance in the story structure, characterization, motivation, and pacing.

Even with its flaws, it’s largely an entertaining film with plenty of humor and a story that truly must be seen to be believed.

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.

Fully Realized Humans offers an honest look at an expecting couple's anxieties about becoming parents, but its approach is simply not compelling.

Swan Song is a respectable science-fiction drama. While it may feel overwrought and overly sentimental in parts, the film is immersive and engaging. Ali is magnetic and his natural onscreen charisma, paired with a terrific performance, make Swan Song an absolute must-see.

It proves to be a fulfilling and heartwarming journey.

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

The Archies is entertaining, educational and original.

Buoyed by a strong, effective performance by Boyega, and even despite its pitfalls, Corbin’s film is a solid debut feature.

Its approach is so diffuse that its uncertain and purposefully ambiguous ending is misguided at best.

Diallo knows how to create a deeply disconcerting atmosphere.

The Convert is by far one of Tamahori's best films in years.

The film has two major things going for it: Goldstein and Poots' casting and their characters' chemistry. The only thing that fully captures our attention from beginning to end is Laura and Simons’ undeniable spark and charming banter.

Despite a raw performance from Willem Dafoe, Tommaso feels more like a self-indulgent male fantasy than an introspective character study.

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

It’s a lovely, heartfelt movie that is also gritty and deep and evocative, with outstanding performances that ground the story in every possible way.

While the film has some full-blooded setpieces and creative visuals - plus one of the franchise's coolest posters - it's a thoroughly by-the-numbers effort. Lee is visibly disengaged with the sequel, the middle section drags on and most of the cast of characters aren't terribly interesting.

I’ll Be Right There is worth watching for the acting and occasionally fantastic writing, but it ends on an inconclusive and unfulfilling note.

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

Kingdom of the Planet of the Apes is a rousing action-adventure in the ruins of the human world – traces of the past remain but this is Noa's story.

Pixar's latest big screen adventure, Elio, is a big-hearted tale about friendship, family, and connection, and it will both delight and wreck you.

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 actors inhabit these characters well, but they don't have the benefit of juxtaposition with normality to really put their work in context.

8-Bit Christmas has a lot of heart, but the comedy struggles to stand out in a marketplace full of similar, established, holiday feature classics. Regardless, it offers enough of a unique spin on the genre to satisfy audiences — especially millennials.

Its focus may have needed some more fine-tuning, but Steve proves meaningful regardless.

Everything in American Star hinges on McShane's intuitive performance that rejects the obvious and embraces ambiguity.

Tonally inconsistent, writer-director J Blakeson takes a big swing and misses with regards to the film’s message. Rosamund Pike gives a fiery, powerhouse performance, but there is something completely missing from I Care a Lot that makes it a hard pill to swallow.

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

This movie is as close to a perfect ending as the franchise could get.

Appendage is a solid outing by Zlokovic, and the horror elements complement the story’s message about self-doubt, even if it doesn’t push the envelope any more than it has to.

We all need a really good laugh, and Drymon and company deliver.

Last Night in Soho is a stylish and thrilling work from Wright, bolstered by an impressive lead performance from Thomasin McKenzie.

Anchored by Yang's sensitive direction and a Tzi Ma performance teeming with life, Tigertail is romantic, thoughtful, and heartbreaking all at once.

The Long Game doesn’t push itself far enough, but ultimately, it successfully and truthfully tells the story it set out to tell and has fun along the way.

It has some good old-fashioned magic, genuinely pulls at the heart-strings at times, and is occasionally very funny.

Hiding within Stars at Noon is a lean erotic thriller, one where the lack of chemistry between Alwyn and Qualley can be overlooked both because of Denis' directing and the standalone performances of its cast. Unfortunately, the film gets bogged down by pacing issues, hoping to coast on the chemistry of Qualley and Alwyn, but runs out of gas long before danger starts to creep in just past the hour mark.

The story is solid and its characters are fleshed out enough that Girl Happy can be considered a plentiful experience, if not the final remnant of Presley's ambitious vitality in his late 1960s films.

The Monk reunion is a film made for fans of the TV show — it doesn't try to go beyond that, which is ultimately good news.

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

Face the Music is clearly a passion project for the minds behind Bill & Ted, and it results in a sequel that coasts by on its goofy humor and heart.