It eludes classification, refusing to commit to being one thing and instead asking us to question our relationship with the world around us.

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.

Thanks to phenomenal camera work and partnership with cinematographer Alejandro Mejía, In the Summers is elevated by an impressive experience both emotionally and visually.

I'm Thinking of Ending Things is a suitably eerie and creepy psychological thriller that ultimately never comes together as a comprehensible whole.

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.

Mona Lisa and The Blood Moon is a tightrope of horror, revenge, and feminism set to awesome music.

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.

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

Blanchett knows exactly what movie she's in, and she seems to be having the time of her life fitting herself into the mold of a video game heroine.

Weird lives up to its name. It's utterly ridiculous, a satire of biopics in the best way. It exaggerates anything and everything that happens (and doesn't happen) in Yankovic's life to the point of being so over-the-top one can't help but laugh at its absurdity.

1917 is worth checking out on a big screen for its visuals alone (Deakins' next Oscar nomination is all but assured), even though its immersive cinematography can, indeed, have the unintended side effect of making the movie seem like a video game at times. Still, there's a beating heart beneath the machinery that prevents it from being a hollow experience

There's an air of tranquility about it and Spielberg does well to balance a few comedic moments with a whole lot of heart. Even the more dramatic moments are depicted with patience and warmth. It's as if Spielberg is softly wading through his own memories, pulling open the doors to see each one with a lot of light and love in tow.

Handling the Under is not an effective horror movie, but its zombie-drama formula allows for a portrait of pain that settles in and stays like an infection.

It's thanks to this cast that Shirley remains a rousing and emotional tribute to an important figure in American history.

The true story aspect will leave audiences wanting to dig deeper into the two disparate accounts, but even if they don’t, Howard’s Eden is a compulsory watch that does enough to satisfy.

In the moment, I thought it was very successful, and quite moving. In retrospect, however, the lens that we're forced to view the film through cheapens what we actually spent most of our time watching. Omaha can't really be seen the same way twice, but it's well worth it for that first viewing experience – and for John Magaro's performance, which will surely be some of the most quietly powerful work of the year.

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

As Between the Temples reveals more layers to him, Schwartzman deftly uncovers something much deeper. There's grief there, but there's also a profound ability to love without shame and that is perhaps the most revelatory thing of all.

Scream VI evokes a different kind of nostalgia, taking what made the franchise's original college-set sequel great and amplifying it to a 10. Scream VI is bloodier, scarier, and funnier, nodding to its past while carving a brutal path forward for Ghostface and the new franchise torch-holders who find themselves at the receiving end of the blade.

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.

While introducing a few arcs it doesn’t fully explore, Candyman is replete with haunting imagery, disconcerting horror, and thought-provoking themes.

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.