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.

This isn’t a film that relies on gimmicks and shock value. Instead, first-time feature directors Johnson and Merrick masterfully craft a story that relies on social media and technology to the benefit of the script. And thanks to a well-framed story and clever structure, everything comes together by the film’s end, revealing the answers from clues that just may have been there the entire time.

Watching Tár is akin to listening to a symphony orchestra — it's moving, passionate, and will leave one wanting more long after the lights come up.

The film's events feel natural, so the audience doesn’t have to dig deep to understand and relate to the characters. Combined with a hilarious cast who are all on the same page, The Drop delivers an entertaining enough viewing experience.

Part revisionist history, part unconventional character study, Corsage is carried by Vicky Krieps' brilliant performance and its willingness to buck genre conventions in favor of a dark and dreamy fairy tale.

Thanks to the intriguing nature of the titular character’s existence, audiences everywhere can expect a thrilling horror feature that capitalizes on the charm and acting of its leads, campy sequences, and fun uses of music. This is the type of film enjoyed best with a crowd.

Ultimately, The Pale Blue Eye feels like more of a missed opportunity than a story worth enjoying on its own. As far as historical fiction goes, the film fails to capitalize on its central historical figure, especially with Melling’s performance a beacon of light.

A Man Called Otto aims to be a crowd-pleasing, heartwarming film, and, despite its many flaws and speed bumps, is a success on that front.

Donowho’s western tale follows a typical formula, but there are plenty of laughs and smiles to be had throughout this familiar story.

The cast is not the problem, but the script certainly is. The actors are given too much to do and no time to do it. Golden has the right idea, but the execution fails the film's aspirations.

Something from Tiffany’s lacks a good enough script and the chemistry it needs to make anyone want to sit through another holiday rom-com.

The incomparable Daniel Giménez Cacho stars as Silverio Gama, giving an unforgettable performance that captures the intensity of the film’s concepts. While everything doesn’t always work in Bardo, Iñárritu takes his time painting a visually scrumptious tale even though it’s overly saturated with style over substance.

The adaptation isn't perfect (what stage-to-screen adaptation is?), but Matilda the Musical comes with a game cast, expertly staged musical numbers, and just a touch of magic that all the best musicals have.

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.

None of the film's themes blend together appropriately, even when one may suspect a great film will break through.

I Wanna Dance with Somebody celebrates the star that captured the hearts of many fans around the world. And through a great performance by Ackie, this film has the ability to do the same, even if it sticks to genre rules.

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.

While Emancipation contains beautiful cinematography amidst brutalities of oppression, it conveys very little about the man who should easily inspire the world.

Christmas with the Campbells tries to take some big swings toward shaking up the conventional holiday movie mold, but it ultimately ends up being more of the same, just with some sticky moments. The earnestness of its cast, especially Snow, makes up for some of the other elements that are lacking.

With a stellar leading pair who make the most of the screenplay, Darby and the Dead has enough to keep audiences moved and laughing on occasion, though it is unclear whether it can bring viewers back for a rewatch. The only certainty is that Downs and Cravalho are great together and should have the privilege of leading more projects.

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

To say Leonor Will Never Die is making bold choices would be an understatement. One never sees the comedy coming, the film is gorgeous, and the script is easily one of the year's best.

This breathtaking, funny, and heartwarming tale is creativity and sincere storytelling at its finest.

There is a modest feeling to There There, and the emotional impact of its actual content might display the limits of this extreme methodology, but its (smartly brisk) runtime is hardly too steep a price to see a small movie explore such big questions with such clarity.

Its absurdity is enough to appeal to the right group of adventurous friends, perhaps, but even those with the stomach for its grossest impulses might find themselves wondering what it was all for.

There may be few miracles in The Wonder, but it's clear that Pugh is one unto herself.

It doesn’t break any genre barriers, nor does the film offer anything new to say about these respective topics. However, Tagliavini nicely crafts a Christmas rom-com that is funny and sincere — a feat with which many other holiday romantic comedies have struggled.

Those looking for a heartfelt tale of family and love might find this one misses the mark, but other viewers willing to go along for the ride could find themselves grinning by the credits. The People We Hate at the Wedding will likely be somewhat divisive, and that makes it a rather intriguing movie in the end.