For a movie that insists on the value of artistry, it certainly plays like an expensive knock-off. I liked it fine, because I love these characters in this world, but ultimately... that's all.

I'm sure most of the film's scenes will slip from my memory as the days go on, but while I watched, I enjoyed the battle between Theron and Egerton.

"Michael" emerges as whatever the opposite of a warts-and-all biography is. This is a polished, flavorless, cracks-free paean to Jackson, celebrating his highs and only sometimes looking at the lows, as if they were mere dust-bunnies under the couch.

Obsession has a nasty sense of humor at the heart of the story, but the reality of what's going on is extremely dark.

Cronin and his team work overtime to make this movie gross, filled with goo and guts and uncomfortable squelching noises. A lifetime of horror movies has made me mostly immune to such things, but the third act of this film goes to such gruesome places that a woman at my screening who had inexplicably brought her very young child to this R-rated movie quickly scooped her kid up and hurried out of the theater.

Mother Mary is an emotionally distant, confounding, and ultimately unsatisfying work of art. Though its visual ambition and lead performances are commendable, it never gives enough of itself to let the rest of us in.

Sometimes you want to see a fine-tuned work of precision pop art like "Jaws," and sometimes you just want to watch a CGI shark bite a guy on the ass. We, as movie-watchers, contain multitudes.

Ultimately, your enjoyment of Exit 8 will hinge on how much repetitiveness you're willing to tolerate. Liminal space horror fans will likely enjoy the film's moody aesthetic, and there are times where Exit 8 feels like a movie to be digested via spooky gifs and screenshots. Exit 8 may very well give you the creeps, but that might not be enough.

There's a lot of room for cheap, silly schlock here, but Goldhaber and Mazzei actually attempt to take this (sort of) seriously, which results in a far better movie than you might be expecting.

Over Your Dead Body pulls off the magic trick of bringing exploitation cinema into a timeline that's a walking parody of itself, delivering one of the bloodiest and most entertaining films of the year.

At the end of the day, "The Super Mario Galaxy Movie" was nothing more than a video game I couldn't play. After the credits — including not one but two post-credits scenes — rolled, though, I didn't want to go home and load a Mario game onto my Switch; I wanted to watch a better movie.

The Drama is a cinematic Trojan horse: it's a breezy farce that feels uncomfortably ominous, and it's also a star-studded romance movie which could set off a discourse bomb.

Although much of the pleasures of They Will Kill You come with the caveat that the movie doesn't quite lead anywhere memorable, one aspect that is fully fantastic and very memorable is Zazie Beetz.

With such a large ensemble and diversity of personalities, Happy New Year fails to flesh them out.

It's not "elevated" horror attempting to reinvent any wheels. It is, however, a very satisfying, very fun, and very well executed scary movie.

Horror sequels often divide fans, especially when the original develops a passionate cult following like Ready or Not. Matching that film's sharp humor, bloody chaos, and bonkers energy would be no small feat. Fortunately, Ready or Not 2: Here I Come proves to be just as explosively fun as its predecessor, even if it's essentially "the same, but more."

undertone is so effectively spooky that I found my eyes nervously darting to shadows as I walked to my car after the screening. The best horror movies don't need cheap jumpscares, they just need to make you feel like something dreadful is out there, lurking, waiting to make itself heard.

It will lift up and squeeze your heart, crack you up with laughter, and give you a sense of hope and wonder in a way that few movies have been able to inspire. Lord & Miller have created something truly magical, and we'll be talking about this one for decades to come.

Like its title character, this old hound finds new tricks and delivers a fitting "Peaky Blinders" coda that won't disappoint.

Using the framework of territory as well-worn as "Bride of Frankenstein" (which, to be fair, was pretty subversive for its time) to launch such a visually sumptuous, unapologetically bold story of love, graphic violence, and rage has to count for something. At a time when movie studios taking big risks and big swings feels more unlikely than ever, "The Bride!" is willing to charge headfirst into intentional audacity.

Audacious, heartfelt, and uproariously funny, Hoppers has all the makings of an instant classic for Pixar.

All of this is emblematic of a film that suffers from self-inflicted wounds at practically every turn. Lacking the cleverness of the original, the undeniable flair of the best of Wes Craven's sequels, and the crowd-pleasing thrills of the recent revivals, "Scream 7" is more or less dead on arrival. Maybe it should stay that way.

How to Make a Killing is a movie that sneaks up on you, and like Becket himself, doesn't simply stab you in the chest or punch you in the gut. Instead, it slowly poisons you, leaving you bewildered by the end as to how sick you and the country you live in has become.

It's slick, solid, and filled to the brim with talented actors digging in and making the most of a not-entirely-nutritious meal.

This is not an adaptation of "Wuthering Heights," but the result of what happens when you're playing an approximation "Wuthering Heights" without a full grasp on the material but all the money in the world to bring your questionable imagination to life.

Love it or hate it, believe it to be honest or self-indulgent, "The Moment" is a movie that refuses to pander, and for that, I appreciate it. We may never know who the real Charli XCX is, but unlike the fictional Charli, she seems to be putting herself out there on her own terms.

I had oodles of fun watching Raimi go wild and give McAdams a chance to play the type of unhinged weirdo she hasn't really played before.

Mercy is a sight that may induce sore eyes, a punishing experience for those with even the lowest of expectations, and appears destined to land among the dregs of the year. But, worst of all, this feels like an alarming glimpse into a world I want no part of — one where our entertainment isn't so much as created by AI, but explicitly tailored for those who no longer care enough to see the difference. On the bright side, 2026 can't get any worse than this ... right?