The Way of Water is overlong and stretched thin on story, but the Avatar sequel is beautiful, with lush world-building and characters that add depth.

Somebody I Used to Know is a refreshing take on routine rom-com tropes that, while suffering from a slow start, makes for a rewarding journey.

7 Days is emotionally resonant, sweet, tender, and genuinely funny.

Don’t underestimate Upgraded. The script is snappy and entertaining, the characters are colorful, Mendes and Renaux carry the romance very well, and the film is a fun escapist rom-com that gives exactly what it needs to provide us with a good time.

Despite its flaws, the film has plenty of memorable, engaging moments thanks to strong characters and a story that feels true to history while offering some hope along the way.

Marmalade is one wild ride, as long as you're willing to stick with it.

The film, directed by Peter Bebjak from a screenplay he co-wrote with Jozef Pastéka and Tomás Bombík, is urgent, effective, and also deeply painful.

The Artifice Girl is engaging and compelling, bolstered by stellar performances from its cast, and exceeds where other AI-focused stories might falter.

Freaky Tales may not be a perfect film, but it will definitely leave a strong impression on you long after the credits roll.

Power Ballad continues Carney's long run of success with yet another charmer. Of course, it's easy to charm when you have Paul Rudd as your center.

It's certainly a good family-friendly movie for viewers young and old, but those who have enjoyed Disney Animation's offerings in recent years will find plenty to enjoy. With richly detailed animation, exciting action and a compelling story about trust, Raya and the Last Dragon has all the makings of a modern Disney classic.

Writer-director Lee Cronin holds onto the essential mythology while bringing in elements from a host of other influences, including the Evil Dead series, The Exorcist, and Hereditary, to try and shake up what mummies can be on screen. Discovering the true nature of this film's mummy, and what it's capable of, is part of the fun. The result isn't quite a 28 Days Later moment – one way to understand the film's full title is that this feels like one filmmaker's interpretation of a classic monster, rather than a new template for others to follow – but it's definitely the scariest a mummy movie has been in years.

Though it's more of a reboot than a sequel, 28 Years Later pays homage to the original film without sacrificing its originality & fresh spirit.

An obvious inspiration pulled from experiencing losing his wife Carolyn to cancer, Cronenberg delivers a subdued horror film on grief, which feels unlike any of his previous works.

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.

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.

It’s less challenging and possibly less rewarding but it’s no less fun.

With good pacing, writing, and a stellar cast, Barker has crafted a directorial horror debut that is deliciously dark, absurd, and eerie.

Ray still overcomes adversity, but writers Rick Santora and Randy McKinnon sidestep the stereotypes that so often plague sports films to do so, making it one of the better sports films to be released in some time.

It’s a mind-bending visual odyssey wrapped around a grounded, relatable human story.

The Devil Wears Prada 2 is a well-constructed sequel that finds a healthy balance between nostalgia and forward momentum. It might not be as richly compelling as the first film, but there's still a lot to enjoy – especially when it turns inward.

As a character study, Blue Moon is imperfect, but its smart framing of a pivotal moment in Hart's life elevates it.

Baker's familiarity with the area gives Janet Planet a distinct sense of place and Baker an assured way with the camera, but there's also a universality to it and to the film's central pair that helps it transcend to something even more affecting.

Killer Heat delivers something new and refreshing that deserves to stand out for its creativity and clever storytelling.

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.

The cast deserves real credit for that, Biscayart especially. His physical expressiveness is truly extraordinary, and without his performance to transition us to the final act, Kill the Jockey doesn't succeed.

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

Every moment is purposeful, every conversation sharp; the actors and the direction say more than what is on the surface.

The cast's chemistry really sells what transpires here and without that, it's hard to see the film working. Luckily, Brooklyn 45's disparate pieces come together to make for a wholly unique film that feels rare to come across these days.

Featuring everything from handmade pasta to beautifully rolled cannolis and even the unique delicacy of capuzzelle, I could practically smell the kitchen through the screen, and it certainly kept me hooked on hanging out with the movie's charming cast.

Filled with heartfelt moments and hardships amidst Grace’s growing young adulthood pains, Levack’s film plays like a new music album that is familiar yet exciting.

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.

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.

The Boston Strangler case may not have come to the fairest conclusion, but the efforts of these brave women will hopefully continue to light a fire under those who will catch their own Boston Strangler. If that was Ruskin’s goal with this film, then he was successful.

While body and survival horror fans might not find anything particularly groundbreaking here, and while the toxic masculinity plot is thinly veiled by the bloodthirsty wolves thread, the movie accomplishes what it sets out to do. Ultimately, the bones of the story have been licked clean of any excess, making for a film that will successfully holds our attention in its jaws.

The only glaring flaw in Alone With You is its rushed final moments and ending, but it is not discordant enough to mar the genuinely uncomfortable scares and taut suspense it generates throughout.

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.

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.

A moving and well-acted film, Belfast explores the decisions families make in the wake of devastation and turmoil; it’s Branagh’s best film in years.

Brick is still a gripping thriller. It's well-made, but there is something lacking overall that could have been made better by diving deeper into the relationships of the central characters.

Ride is an enthralling movie about the lengths a family is willing to go to protect one another, tugging at the heartstrings and leaving an impression long after the credits roll.

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

There’s a real thematic depth to each chapter, and the stories are relatable enough to never be boring, but Jarmusch’s insistence on writing three separate narratives about the same concept is a major misstep.

Marshall has captured enough of the magic from the original to entertain longtime fans. Bailey's Ariel is one for the ages, and McCarthy is fantastic as Ursula. With these two ladies on board, The Little Mermaid is a genuine delight.

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.

This film was made to introduce Burnett's classic novel to a new generation, and it's easy to imagine young viewers will be entranced by Mary's story. And, truthfully, some older ones might be as well. That's just the magic of the garden.

She Rides Shotgun packs a punch — or, to use one of Nate's lessons for Polly, hits you like a baseball bat to the back of the head. The subplot with the local gang may be forgettable, but the father-daughter relationship will stick with you for a long time.

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.

Wheatley is such a strong technician that the film easily rises above its, well, normalcy, to become something much more distinct.

Thanks to Liu as both performer and producer, Rosemead not only earns its place among those films’ superlative ranks, but achieves a surprisingly powerful balance between intimate cultural authenticity and urgent, universal relevance.

For those that persevere, there is an entertaining gangster film at the heart of The Gentlemen. There's a frenetic energy to Ritchie's movie that comes in part from his directing style, and part from the cast's clear enjoyment of bringing the film to life.

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.

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

Awkwardness knows no bounds here, and the kooky comedy has enough steam to carry it all the way through to a lovely ending.

Despite the pedigree of Hanks and Greengrass, this effort doesn't quite get there - but it's still well-made. News of the World is a standard Western with a predictable story, though it's elevated by Hanks and Helena Zengel's performances.

For all its flaws, The Deb is hilarious and entertaining. The music is infectious.

While it never reached the level of success of Dracula, Son of Dracula was still a great late addition to the Universal Horror catalog.

It’s a nuanced role that Banks absolutely nails, capturing Liz’s experience in a way that makes us feel all that she’s going through.

It may not be the most original, but it still proves to be a funny enough endeavor.

Despite its flaws, East of Wall is ultimately an incredibly gripping narrative.

Though it is sometimes a bewildering mess, the film totally works in spite of its more ludicrous intentions, a standing piece of proof that the more specific a piece of work is, the more universal it somehow becomes.

The movie's superhero-laden backbone is meant to support a deeper message. Adam Egypt Mortimer's Archenemy is a painful reminder of how society fails people, and bleeds colorful nuance and thematic messaging in every frame.

Using her face alone, Monroe shifts from morbid curiosity to abject terror and emotional devastation, culminating in a killer final shot that encapsulates what's so unnerving about the movie. Sometimes fear doesn't immediately register — it can be a seed, planted and cultivated over time and, once a full bloom settles in, it's hard to shake the fears that grip you.

Serious People doesn't deal in cynicism. Its quiet ending wraps things up too tidily, but there's a strange sort of optimism to its idiocy that is quite endearing.

Despite this being a film billed as "samurai versus cannibals," it is actually at its best before the fighting begins.

Though this film is filled with mystery and murder, what makes it stand out is that it is the first Thin Man film to explore Nick's background. While the previous films typically connected to Nora and her parentage, this is the first that sees where Nick Charles came from.

Bring Them Down is 105 minutes worth of violence and misery, but it’s great storytelling, nonetheless.

Ice Road: Vengeance is an overall excellent action film, with all the qualities of a Hollywood blockbuster.

Flora and Son is energetic, easygoing, and charming. With a great cast, lovely musical numbers, and a stupendous lead performance by Hewson, Carney doesn’t disappoint.

Daniel Chong's film isn't perfect, but it reaches such a strange fever pitch of hilarity and political prescience that it demands respect.

Going back to basics was the best thing it could have done. With a straightforward narrative and characters we care about who don't overcomplicate the plot, the film crafts something more timeless.

It isn’t just stellar filmmaking, it’s necessary viewing for those of us aching to break the cycle of abuse.

Venom: The Last Dance shows what happens when you let a perfectly cast actor and a director with a lot of affection for the character run wild in a world of Marvel superheroes. You get a movie that's a little weird, a lot silly, and full of fun.

Armed with a truly feminine perspective, Blow the Man Down rises above being a Coen Brothers imitation to deliver a gripping and tightly-woven yarn.

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.

Silent Night, Deadly Night, is at its best when Nelson remembers how schlocky this material is, and he falters when he tries too hard to take it seriously.

Thanks to its charming cast and even-handed blend of laughs and drama, Drunk Bus generally succeeds in putting a fresh spin on its familiar story.

Silent Night winks at us as often as it tries for genuine drama, and whichever tone you choose to accept will likely determine whether you have as much fun with it as I did.

You Should Have Left often feels like a watered-down version of The Shining, but Koepp still manages to maintain interest in its mind-bending story.

The End is a challenging film and the rewards may be minimal, but that it exists at all is a miracle itself.

The fashion alone, from design supervisor Stefano De Nardis and the costume team, elevates the film, turning it into an extravagant spectacle.

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.

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.

Every life is a universe unto itself, and Ricciardi was clearly the kind of unique soul whose spirit enriched everyone around him, but its actually in the margins of this sometimes preening doc that Benna's film really hits its target. When the film rests, it destigmatizes a process that everyone will eventually go through (albeit in a range of ways).

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.

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.

While Birthrite had some flaws throughout, Partridge knocked it out of the park in the third act, leaving things on a strong note.

When Ma focuses on the grounded journey of Sara's fish-out-of-water story and the genuine chemistry between her and Sam, the film sings.

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

Despite the lack of strong characterization across the team, Rule Breakers still provides an uplifting story about women triumphing over their expected social roles on a global scale. It's a heartwarming story that, despite focusing more on its themes than any other aspect, still delivers a memorable tale with roots in real life.

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

While The NeverEnding Story II: The Next Chapter is lacking compared to the book and first movie, it's still an entertaining kid's adventure.

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.

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.

This movie won't be for everyone, but Dafoe enthusiasts will have to check out his go-for-broke depiction of a man at his wits' end. It keeps the movie exciting even when the pacing falters.

Drenched in a Suspiria-like red, Malignant has its remarkable horror moments, but ultimately succumbs to a tale that is more style than substance.

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

West Side Story is visually entrancing, emotional, and the choreography and staging magnetic even when certain aspects of the story don’t always work.