V/H/S/94 is a solid entry that provides the telltale thrills of gritty found-footage horror mired in '90s nostalgia, though it is flawed and uneven.

While Schrader's directing and the casts' performances are more than up to standard, Master Gardener somehow ends up being less than the sum of its parts.

No disrespect to Foy, who showed with The Crown just how capable she is of revealing entire histories through her open visage, but watching her go through the extremely repetitious (and, one supposes, accurate) steps of training a Eurasian Goshawk is exceptionally tiresome. H is for Hawk induces the same effect as taking a sedative.

The film exceeds expectations with respect to being a Netflix Christmas production, but it is thoughtful and sincere all the same.

Where there could have been thoughtful, poignant commentary about life’s regrets and the turmoil that can continue to permeate a father-son relationship over time, Mortensen drops the ball completely. Without a cohesive story, Falling spirals and offers little beyond good performances.

Keeping us close to the film's talented cast is a decided strength of this, and the performances add nuance to a largely straightforward viewing experience. But it's hard not to wish Fingernails had grander designs. It shows just enough of its full potential to leave us wanting to see those ideas expressed more fully.

There's plenty to admire in Maria, and in Jolie's performance, but my connection to certain scenes shouldn't be mistaken for my being emotionally engrossed. In fact, I typically felt kept at a distance.

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

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

Despite some of the struggles with the moral depictions of the figures, the actors behind Scoop's characters are all mesmerizing in their different roles.

Margot knows the dangers of social media – her backstory has shades of cliché, but it's still effective in pushing her down the rabbit hole that her coworkers' superficiality precludes them from exploring. That investigation involves a string of missing persons and a killer obsessed with the dark corners of the internet. The biggest issue with Faces of Death, though, is that it's just not all that dark down there.

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

It's possible to watch this movie thinking mostly of what could have been – if the script was as deft as it sometimes pretends to be, this had the makings of a truly great thriller. But The Rip is a good time when experienced on its wavelength, and worthy material for a relaxed night in.

It’s a rousing horror with entrancing lore, an eco thriller with interesting themes, and a hostage drama that banks on gruesome and disorienting actions. Not everything comes together cohesively, but the story has a lot to offer and it’s grounded enough to leave a big and lasting impression.

Beau is Afraid will make one feel alongside its title character in a way few films do, and it's a torturous and glorious ride.

A Haunting in Venice is standard Hercule Poirot mystery fare that is given a boost thanks to the stunning visuals and supernatural happenings.

While it's heavily nostalgic, The Matrix Resurrections does have something to say about living in the past and the difficulties of moving forward.

Thanksgiving is special in the way all good slashers are — it's funny and gruesome, with a trashy B-movie energy and a solid whodunit at the center of it all.

Love and Monsters may not be a wholly fresh concept, but a clever script and Dylan O'Brien's charm make for a super fun adventure comedy.

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

Gordon and Lerman are both in great form, going a long way in carrying the somewhat problematic premise.

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.

Winslet’s got plenty of fire as the titular photographer, but the biopic’s spark quickly fades.

If nothing else, it's best to walk into Sean Price Williams’ feature debut, The Sweet East, as a satire decorated with light political and human commentary and wild excitement that never lets up.

In the end, the movie successfully relays the importance of actualizing oneself, but wraps its narrative up too neatly, bypassing the messier reality of profound reinvention after decades of normalized routines have clouded one’s passions.

Hell Hole is a really rewarding experience for horror genre fans who have longed to see a crazy body horror outing in the vein of The Thing.

The film is ultimately underwhelming and lacking the urgency needed to drive the story and lend realistic consequences to their endeavor.

For all its more serious moments, The Good House actually feels a lot like comfort food. It could be due to the vivid community the filmmakers have built, or because of Weaver's multifaceted performance. It also could be because, at its core, The Good House is about inner growth and the value in appreciating loved ones.

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.

There are inklings of something more interesting and rich beneath the surface, but Dual never brings the pieces together.

The Assessment, directed by Fleur Fortuné, is conceptually sound and looks incredible, but while it’s psychologically involved and provoking, it doesn’t go beyond the surface of its ideas.

This story alone is gripping enough to warrant further study, but this documentary has very little in the way of actually exploring the case so much as it focuses on the conspiracies surrounding it.

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

The film keeps things simple, but it shines like a lighthouse in the darkness nonetheless.

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.

It's unclear if Stress Positions has arrived "too soon" but its proximity to the pandemic doesn't make it any less hysterical, even if it's hollow in other areas.

Marks’ sophomore outing can be quite charismatic and fun, but it’s a misfire when it comes to exploring the couple and their attempts at polyamory.

To make it really gel, the film needed to have a stellar performance at its core. For me, Tran fell short.

Beetlejuice and Delia are deployed just the right amount, each injecting the movie with their own flavor of chaos whenever things risk feeling stale.

As a story of parental reckoning, Goodrich lacks the interrogative instinct of something like Sofia Coppola's On the Rocks, and it rushes Grace's catharsis as a result. But as a story of a man's late-stage awakening, it strikes a more resonant chord.

While Red, White & Royal Blue is a little too light on laughs, its central romance follows the book closely enough that die-hard fans will be pleased and casual viewers will be able to find something to love.

Everybody’s Talking About Jamie is bright, joyous and hopeful. The script is honest, sweet, and humorous, and comes to life beautifully with a dazzling ensemble cast led by Harwood.

While the remake offers a fun, nostalgic moment for fans of this forgotten 1990s kids’ movie, it struggles to enhance or elevate the brilliant charm that made its predecessor so memorable.

It’s masterful in developing a gnawing suspense that permeates the film, and never falters in engaging us from start to finish.

Terrifier 3 has a real lack of tension that all the sawed-off limbs in the world can't Frankenstein together.

The underlying story is about dealing with grief, but I’m Totally Fine is neither nuanced nor funny enough to comment on that topic meaningfully.

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

Moviegoers looking for something romantic and entertaining to catch on Valentine's Day weekend (or even later on in February) won't go wrong with The Photograph.

The Lesson is gripping and compelling, enhanced by its cast and score. It knows precisely what kind of movie it is and, though at times predictable, has much to say and a sophisticated, unpretentious style to go along with it.

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.

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

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.

Even when removed from the implications of his prolific career, there isn't a ton here that gives us an unbridled look into the man's inner life.

Free Guy is the most creative, heartfelt and perhaps best video game movie so far, the film is fresh and original enough that anyone can enjoy it.

I Want You Back will definitely make viewers laugh. The film isn’t trying to make anyone cry or be overly dramatic — it simply follows funny performances through the 2022 dating world and lets the audience fill in the blanks.

It is heartfelt in its embrace of silliness, and for that reason alone, it is worth a watch.

Flora & Ulysses has all of the right ingredients, but falls short of bringing them all together, leaving the film an uncharismatic and empty shell.

Though it runs out of steam during its second act, Butler and company do everything they can to keep the energy going, closing out the film with a well-earned bang.

The film brings the drama, but it’s never overdone and the performances from the cast elevate the material, adding dimensions to the characters’ lives.

Luckily, Johnson and Penn's compelling dynamic keeps us hanging on, right up until the moment they part. That final beat could've been shorter to make more of an impact, but that doesn't lessen the satisfaction of the journey overall.

Ultimately, The Cursed is merely a slow trek through horrific gore, lackluster and confusing werewolf lore, and a muddled understanding of the legacy of the Roma.

Although based on an intriguing philosophical conundrum, A Glitch in the Matrix feels unreal on all fronts, poorly-researched, out of touch and vapid.

The film balances scares and laughs with pitch-perfect timing, creating one of the smartest, most inventive vampire movies in decades.

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

Seven Veils still falls prey to its own expansive focus, making it a compelling yet unsatisfying drama.

The movie's atmospheric approach to horror sometimes works against it, but stellar performances from Dan Stevens and Schafer ultimately make it a home run.

It’s still a serviceable film, and you’re in for a wild and weird ride. Even its message, while nihilistic, has merit. I only wish The Monkey had a more balanced story to counteract its weaker elements.

A Million Miles Away is genuine in the way it presents its story, and the struggle Hernández endures, but it’s also so laser-focused on his space goals that it forgets to explore his inner life.

Shannon and Neveu’s compassionate display of understanding different perspectives when it comes to something as tragic as a school shooting is simply beautiful storytelling.

Words on Bathroom Walls deftly balances being part romcom and part mental illness drama, offering a uniquely compelling coming-of-age story.

The How to Train Your Dragon live-action remake is a fantastic movie, not just emulating the animated original, but elevating it, all while also delivering an exciting summer blockbuster poised to thrill

Though the movie goes by way of Shaun of the Dead and refuses to ever use the z-word, there's no denying that We Bury the Dead is a zombie movie, even if a more scaled-down one than some might come to expect.

Copshop won't be for everyone, but those looking for some old-fashioned gun-slinging hijinks will get some enjoyment out of it.

Those who prefer their period pieces to be more traditional will find this blasphemous, but those willing to imagine a 16th century Verona with updated characters will get a kick out of Rosaline's antics.

Ansari has brought his familiar comedic charm to a solid, original story, and the end result is an all-around good time.

In Land, actress Robin Wright’s directorial debut, the sad, isolated feelings that come with bereavement saturate the story, but the film has surprisingly very little to say about grief.

Ultimately, Horse Girl is a tricky film to unpack. On one hand, it's fine that it doesn't provide easy answers for the questions it poses, but even dedicated cinephiles may find Horse Girl abstruse and challenging to a fault.

Comedically, the film also falters . . . Nor is there much that is distinctive about the animation style.

Unpregnant delivers a fun and entertaining road trip comedy about female friendship and abortion, with compelling performances from its two leads.

Ignore the publicity bluster, and you'll find at the core of Song Sung Blue the same modest dream to entertain that drives the Sardinas. Is it one of the best films of the year? Certainly not. But a good time at the movies? You betcha.

Despite a series of beautiful gowns worn by Chastain, the film doesn't offer much intrigue nor sociopolitical interest, instead reducing itself to the lowest common denominator by the time it reaches its exceedingly cruel ending.

Visceral and uncompromising in its vision, PVT Chat etches a gritty portrait of eroticism in the digital age with great nuance and authenticity.

Thrilling and sumptuous, James Cameron’s latest chapter in this ongoing saga is probably the best one to date, with painstaking world-building, sweeping action and stunning imagery. It also feels too often like a remake of its predecessor, with characters, conflicts and plot developments that even the most devoted fans may find repetitive.

The dialogue-driven movie is genuinely funny and heartfelt, rarely, if ever, losing its momentum from start to finish. Conners is a confident director, bringing together a story that is personal while touching upon issues women face as they age with grace and care.

Somewhere in Queens is ultimately a well-made family drama with laughs sparsely placed throughout. The cast is crushing it and the script is as gritty as it is sweet. Romano’s direction works well, and every department is on the same page.

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.

The gorgeous cinematography and costumes can’t make up for its emptiness — both in what it’s trying to say and in the way it’s trying to say it.

The overarching problem is the film's tendency to be a touch too shallow, even if that's the point of the narrative. Finding out more about Hope's hidden past, the supporting characters, and the big lives everyone hints at would have made the story more compelling and helped the characters feel real.

The Bluff is a rollicking throwback to the swashbuckling action of old. It is brutal and inventive enough to wash over its derivative narrative.

Suncoast is a strong feature debut from Chinn. It’s heartfelt and filled with warmth and messy emotions that are deeply felt.

Director David Lowery (Pete's Dragon) brings a more mature sensibility to the tale of a boy who never wants to grow up, and it ultimately yields some mixed results. While Peter Pan & Wendy is strangely lacking some magic, it is saved by a scene-stealing Jude Law and a narrative that forces one to reckon with Peter's more negative traits.

The feature doesn’t dig any deeper than it has to, leaving us drifting along with Jacqueline without anything to latch onto to keep us afloat.

While the film could have spent more time specifically exploring Margaret’s life, The Map of Tiny Perfect Things is a thoughtful, charming, and heartwarming film that utilizes the time loop aspects to great effect.

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.

When all is said and done, the movie manages to juggle several moving parts with incredible graceful balance.

Macchio and Morita not only deliver outstanding individual performances, but also show a remarkable chemistry with one another, and Martin Kove's performance as Kreese remains an effectively chilling foil to the film's leads.

The tonal imbalance and the mismanaged themes make for an extremely uncomfortable watch. However, Dog might find an audience, one that is not so bothered by the lack of depth, and who will tolerate the surface-level insight into the issues it barely touches upon.

Fear Street Part 2: 1978 is a fun enough riff on 70s slashers, but works better as the middle chapter in Netflix's horror movie trilogy.