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.