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.

The filmmakers, and co-writer, producer, and star Brett Goldstein in particular, clearly have a sense of what it is that makes studio rom-coms so appealing, and they've built this one to actually deliver on it. It's a little shaggy, perhaps, and I inevitably found myself missing the shot-on-film glow that did so much for the movies of that bygone era. But I can't really complain. My default state watching Office Romance was a giddy smile.

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.

Corrigan approaches his film's many user interfaces with a show-don't-tell philosophy. Every click, every keystroke, is treated like an opportunity to reveal personality. It not only keeps the screenlife conceit interesting, but makes it feel vital.

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.