Arcadian may falter in its story details, building some character tension that is never fully fleshed out, but it succeeds in creating a gripping, tense experience that is elevated by its disturbing creatures.

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.

In spite of its shoddy sound design (Hooper, as he did with Les Mis, has his cast sing live, but their vocals are poorly blended with the instrumentation), Cats' actors are perfectly matched to their respective roles.

Structurally, Fitting In isn't perfect. It overuses the montage and features dialogue that leans more into preachy territory than Lindy's natural expression of their feelings. However, it's impossible to accuse the film of being anything less than emotionally truthful.

Despite its pitfalls, Wake Up Dead Man is still enjoyable. It has its charming moments, there’s a lot to think about in terms of the story, and the cast is good, if not great, overall. It’s just hard to watch the movie and realize the mystery and excitement have waned.

Despite being flawed, though, Trap is thrilling at times and a ridiculous display of human behavior at others.

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.

Cherry is a fairly standard drama that hits the expected beats, but is still elevated by Holland's strong lead performance.

Ultimately, The Kitchen is a film with its heart set on two stories and only succeeds in telling one.

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

Eternity isn’t a bad rom-com; it’s charming and wildly entertaining for the most part, but by skirting a conventional narrative to be more creative, the story loses some of its effectiveness in the process.

While the plot is suspenseful and unsettling because it’s something that could happen, the film underwhelms when it comes to its dynamics and individual arcs, each character lacking a depth that would have elevated an otherwise solid thriller.

Nobody 2's themes could’ve been better explored, but it’s easy to overlook that and enjoy the fun, action-packed ride.

As a celebration of love and music, Sylvie's Love is a comforting and sweet movie that, while not breaking ground, is noteworthy in its earnestness.

Linoleum is filled with nostalgia — brought to life by the dreamlike, vivid cinematography by Ed Wu — and the overlapping of memories, the mind losing itself, and the fulfillment of a fantasy that feels incredibly out of reach. Not everything comes together so smoothly or cohesively, but the film is a solid effort nonetheless.

The film is compelling and quietly thought-provoking as it peels back the layers of the relationships at the forefront, while also showcasing the discomfort that follows but isn’t always picked up on.

With personal and generational trauma at the forefront of the story, Eisenberg delivers a heartwarming film that strengthens family ties and underscores the difficulty in speaking about the pain between its members, no matter how close they used to be.

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.

Shuffle is a solid primer for a massive subject, and Flaherty's approach is a maddening introduction to a world that needs massive reform.

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.

Despite sturdy performances, Without Blood doesn’t fully come together.

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.

The Quiet Ones isn't action-packed enough to be pure fun or interrogative enough to be thought-provoking.

With a powerful central performance and an occasionally chaotic but nonetheless captivating and moving narrative — helped along by fantastic editing and cinematography — The Outrun is a detailed film strengthened by its connection to nature’s beauty and belonging to it.

It's almost like Cumming has made two films, one through aesthetics and atmosphere and one through story and theme, that ultimately can't coexist. Neither is a bad film, but the former makes a much greater impression, and I wish it had been seen through to the end.

The movie asks a lot of its audience in terms of suspended disbelief, and while it occasionally handles its cheesier moments by poking fun at itself, there are times when cringe-worthy lines are delivered with absolute sincerity. Particularly early on, in fact, You, Me & Tuscany seems doomed to be yet another trope-y romcom that fails to set itself apart. What ultimately saves the movie is unquestionably its cast. Unsurprisingly, given their respective romance backgrounds, Bailey and Page are everything audiences want in romcom leads.

The Tale Of King Crab doesn’t keep one's attention at first, but if the audience can make it past the period piece there is a thought-provoking western on the other end.

The movie's brisk pace keeps the cracks between the various plot threads from showing initially, but upon further inspection, it's clear Despicable Me 4 has so much on its mind, it's forgotten some of what makes the franchise so delightful.