The Young Wife" is a movie that could not have been made by anyone other than Tayarisha Poe. Thanks to her near-perfect direction and writing, everything about its reminder to embrace love, both inner and outer, signals a deserved shift into auteurism for the director.

Rodeo is a daring and impressive debut feature that accomplishes something wonderful about movies: it explores a world that few know with a bracing intimacy and genuine respect for the subject. While it typically succeeds, it's thin plot and weak characters outside of Julia, as well as a reliance on repetition, prevent the film from being truly brilliant.

In the end, Emilia Pérez can't help but feel like a half-completed thought experiment, anchored by the performances of a trio of women all but willing this past the finish line.

It's an action movie for progressive-minded audiences who need some kind of relief in an era of instability and terror as well as an action movie for folks who just want to watch Dev Patel decimate every single person who dares cross his path.

The comedy on display here is so forced and without charm that it made me wish Beckwith and company had abandoned any attempt at humor and instead tried to make Together Together more of a straightforward drama with occasionally funny moments. That’s the better version of this film, and you can see it trying to claw its way out from beneath all the quirks.

Scrambled has razor-sharp wit, with McKendrick driving the film with an energy that is both feisty and vulnerable, reminding one of Portia DeRossi in "Arrested Development," but with a thoughtfulness that evokes "Sex and the City."

The Harbinger is observant, relatable, scare-ya-silly horror. Andy Mitton uses ominous imagery, sorrowful atmospheres, reliable templates, and resonating paranoias to so effortlessly hit upon those feelings we all felt under lockdown: insignificance, loneliness, and worst of all, our social disappearance.

A wickedly enjoyable tale of freak shows, dark and stormy nights, innocent dames, morally bankrupt schemers, and a femme fatale to die for.

It's been 26 years, but Judge hasn't missed a beat. The movie pokes fun at the ridiculousness of our modern world without ever making overt political statements or heavily referencing pop culture, making it a refreshing little escape from our own real-world stupidity.

All of this unfolds at a rather brisk pace, but sooner or later, "Weird" starts to run dry. While the film is consistently funny — I laughed out loud, and I mean really loud, on more than one occasion — the narrative begins to drag, giving one the sense that Appel was right to make this a short film first, and that maybe, just maybe, it should've stayed that way.

Unfortunately, whenever the action stops, The Old Guard sags, with emotional moments that never really land, and big dramatic scenes that lack any genuine drama.

As things grow more dire and mad for the Gardners, don’t be surprised if you find your eyes starting to water and your head starting to pound. It’s not an altogether pleasant experience, but it’s probably the exact sort of nightmarish, unquantifiable situation that would make H.P. Lovecraft proud.

Despite some storytelling stumbles, Standing Up, Falling Down manages to stay upright thanks to knockout performances from Schwartz and Crystal.

It’s a soulful slice of life movie, but one that has so many slices that you end up with multiple pizzas by the time the end credits roll. And hey, everyone loves pizza, right? But when you have a belly full of it, you can look back and realize that there is such a thing as too much. One thing’s for sure: you won’t see another movie like it this year.

There's a bit of quiet courageousness to the movie in its commitment to depth over trying to nakedly appeal to others, and that's a quality which makes any person — and any film — more desirable. So, I'll follow the film's bravery by admitting, right here and now, that I'm in love with it.

This is a brutally honest look at a community seldom portrayed on screen with care or honesty, with a simple story that may not pack much in terms of plot, but packs a whole lot of authenticity and empathy, with a stellar cast of mostly first-time actors.

If You Were The Last succeeds in being sensually aware, wholesomely funny, and emotionally fulfilling.

The film belongs to Del Toro and Threapleton, each of whom steal the film in disparate ways.

Radical doesn't reinvent the wheel when it comes to what we've come to expect from teaching dramas. The movie's message may not be profound or revelatory either, but that doesn't keep this from being an uplifting story full of hope and heart.

You simply don't know how you're going to handle a situation until you are in it; until you've dug yourself a grave you can't get out of. In God's Creatures, this inquiry, and the way it forces the audience to look at themselves as harshly as its characters, is not only the film's sturdy foundation but its greatest emotional asset.

It works as a loving homage to the era of slap-dash, go-for-broke ’80s horror, but it ultimately adds nothing to the conversation.

Butterfly in the Sky is a heartfelt, beautiful celebration of one of the most influential educational children's programs to grace our television, but it also comes with a point to make.

Yes, "Evil Dead Rise" is the most "Evil Dead" movie, from the mind-melting body horror to the outrageous creature design to the darkly comedic spring in its step. Here's a movie that invites you to treat the decimation of a family unit by demonic forces like a big ol' party. There is a select portion of the human population who will find that reprehensible. The rest of us freaks can just crack open the cursed book, read the cursed words, and enjoy the cursed ride.

The movie's direction is whip-smart and gives the film a great paranoid tone, constantly whipping us back and forth between characters and through rooms in time with a pulsing score. The film plays with light in a way that also aids in elevating and unnerving the audience — you're always wondering what's around the corner, and when the movie's "monster" will show its face.

Willem Dafoe isn’t delivering one of his all-time performances, but he’s also not phoning it in. And these are, truly, good dogs. Togo is content in showing you those good dogs, and not much else. It’s a decent enough way to spend two hours, but only just.

It's a handsomely constructed, often addictive documentary – but it's also repeating the same story we've been told again and again.

No other artform could quite present such a collision of time, place, idea and emotion, and it’s clear that Nolan’s pure intent is to give us the utmost of what this medium can uniquely provide. At its best this is a ride that manages to be viscerally thrilling while still being emotionally and intellectually engaging, all in ways that are truly, uniquely cinematic. In other words, say what you will about the tenets of Tenet, at least it has an ethos.

Even for those who aren't quite warm to the art style of "One Piece" (ie, yours truly), the film pummels you with so much color, so much style, so much Looney Tunes-style madness, that you can't help but be a little impressed.

It's the perfect blend of haunt and humor, and no matter how many years go by, it keeps us laughing — and screaming.

Wendell & Wild is a triumph — in terms of animation, of representation, and of being very, very fun to watch.

As haphazard and messy as The Mortuary Collection is, its bloody, ripped-out heart is in the right place.

A mesmerizing, powerful glimpse at the irresistible siren call of the deep and a somber record of the human cost of pushing boundaries.

Gregg delivers an intoxicating and impressive directorial debut, so it will be enjoyable to witness what she does next. Here Before is a harrowing depiction of motherhood with all of its loving and painful experiences.

It's disturbing and uncomfortable, but it's certainly never boring. At the very least, "The Wasp" will stick with you long after the credits roll.

Boyz In The Wood is the hippest, wildest, most energetic genre blowout to come from the UK since Attack The Block.

This is a frequently charming documentary, but it sprints through Henson's life like we're speed-reading his Wikipedia page. I wanted more.

Despite its many twists, The Outfit is a fairly straightforward thriller, buoyed by its sharp narrative turns and a quietly subversive Rylance.

Even if its archetypes might feel overly familiar, the formula works for a reason, and when anything is executed with such pure-hearted joy and affection for its characters, you can't help but smile.

Sacramento is film that knows exactly how to transcend the sum of its parts.

Like all classic underdog stories, director Peter Nicks' Stephen Curry: Underrated is about determination. But it's also about second chances, and how believing in and supporting someone in their lowest moments can have life-changing consequences.

Without the pandemic, everything here would seem a tad fantastical. Now, we can't help but draw sometimes painful connections. Perhaps it'll hit too close to home. After all, the film makes it clear that there's only so long a person can remain trapped before they start getting desperate.

Sometimes you want to sink your teeth into a gourmet meal, and sometimes you want junk food. Stylish, entertaining junk food. And that's what this is. So dig in.

The sum of its parts, including realistic performances and solid writing, makes it more than a great trans film – it's an overall great movie, regardless of the subject matter. Still, in a time where trans people's humanity is cruelly questioned and threatened, trans artists making art celebrating their own existence are more welcome than ever.

There's real skill and artistry smiling out at us here. Too bad it's buried under so many secondhand scenarios.

Borat Subsequent Moviefilm is easily the funniest movie of 2020. That’s not exactly difficult in a year when there are barely any new comedies to challenge it for the title, but even in a year with stacked comedies, I’m confident this sequel would undeniably come out on top of the pack.

It's a reminder of when kids movies were about more than farts and wise-cracking animals, and its visuals retain their power to unsettle and unnerve.

Provides a spoonful of laugh-out-loud moments of sugar from David Harbour to help make the medicine go down. It's a self-aware, serious, action-comedy that never sacrifices story to make its point, and never talks down to the audience even if it has to be a bit more obvious for four-quadrant viewers.

If there's any true criticism to be found with In A Violent Nature, it's that the "Friday the 13th" and "Texas Chain Saw Massacre" video games exist, diluting the inventiveness of the first-person perspective a little bit. But for those who've never played those games, In A Violent Nature will feel wholly unique. Fortunately, even if you have played these games, the film is still a hell of a lot of fun.

The horror on display here is so powerful, and Hall’s work is so strong, that you’re bound to come away from The Night House properly haunted.

I'm not quite sure what "Leave the World Behind" is trying to say, other than the fact that as a species, we seem to be inherently doomed because we're too neurotic to help ourselves. That might leave a sour taste in the mouths of some viewers, but there's something refreshing about a film so unapologetic about its unflinching hopelessness. 

The Wedding Banquet may be the feel-good movie of the year, but that's not to call it a frivolity. It's a film that, once again, demonstrates how all of us, no matter from what background, can relate to each other, and in the era we're currently suffering through, that's a message we could all use more of.

Hustle manages to get by on charm and style, and Sandler gets to remind us again that he has range. "Hustle" isn't a slam-dunk, but it still takes it to the hoop.

Touching, important, and surprisingly inspiring, this movie is a testament to the power of dialect and how it shapes our worldview and fuses and unites us. Willingness to dive in deep past surface level schisms broadens the range of our accepted capabilities and ambitions. Morales may be working with bare bones in her first feature, but she manages to say a lot with a little.

I’m Fine (Thanks for Asking) is a vibrant and inspiring story to come out of the COVID cataclysm both in its narrative and also with its production. This film contains a powerhouse of talent from actors to directors, writers, and producers, many of which wear multiple hats. Filled with refreshingly vulnerable and relatable situations, I’m Fine (Thanks for Asking) is ultimately as validating as it is captivating.

At a bloated 156 minutes, audiences will have too ample time to ponder the film's many weaknesses. The racing will be exciting — very exciting, in fact — and Pitt is certainly a movie star, but quite frankly, I can have my own midlife crisis, thank you. I don't need to watch Pitt's.

The script doesn’t add anything new to the sports movie formula – you can see every major plot development coming from the stratosphere – but Lyn’s execution of those ideas powers the movie through its predictable plotting.

Against all odds, this is the best movie in the series. How wonderful it is to be surprised.

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

The return of Madeleine Swann (Léa Seydoux) makes a strong case that extended continuity is an albatross around this franchise's neck. And Malek's Safin feels like a rough draft, only ever half there, never landing the way a classic Bond villain must. These are tough hurdles when the film is meant to be a grand swan song.

Just Mercy ends up being a fairly bland crowd pleaser that doesn’t pick up the momentum it should until the final act.

Fear Street Part 3 is an absolute blast. But there’s tragic darkness prevailing here, as there has been through the previous entries. Yes, we’re having a good time with all this horror, but we’re also affected by the senseless death and dismemberment. There is no reveling in the spilling of blood here. There’s just a unique feeling of loss; the sense of cosmic injustice at young lives being cruelly snuffed out by thoughtless, uncaring hands. It’s oddly beautiful in a devastating way.

Unapologetically silly, disarmingly earnest, and intentionally corny, Gunn's movie is entertaining, fast-paced, and, most important of all, fun.

Crimes of the Future is Cronenberg in his comfort zone, which is a zone choked with things both repulsive and fascinating. It's not quite as nasty as its pre-release reputation suggests, nor is it even the most graphic film Cronenberg has directed. But it's rife with the filmmaker's signatures and quirks; his fetishes and his dreams; his obsessions and his amusements.

This is a hard film to dislike. Cage brings what you'd expect, Pascal brings even more, and their awkward, adorable, genuine kinship represents how so many of us feel about Cage these days.

Black Widow is at its best when it’s a wacky family drama between Natasha, Yelena, Alexei, and Melina, with dashes of a spy thriller. But Marvel films can’t content themselves with staying small, and Black Widow falls victim to the big bombast characteristic of the studio. The result is a disappointing solo movie that ends up burying Natasha Romanoff once again.

Problemista won't be for everyone, but it doesn't want to be. It simply exists as its own magical thing, and for an auteur like Torres, that is the best possible result.

It does wind up playing things too safe, and too conventionally, but Rustin still remains a valuable portrait of how an everyday person can do extraordinary things in the face of staggering adversity.

Arguably Argento's last very good to great film, Opera is awash in lush visuals, killer set-pieces, and bloody shenanigans as it riffs on its well-known literary source.

I don't know if I could rightfully say that this is the best "V/H/S" movie ever. "V/H/S/2" would have something to say about that. But it absolutely continues the hot streak the series has been on. If they continue to be this good, the franchise could run forever and I'd be happy about it.

There’s a serious lack of movies about Black cowboys or Black equestrians in general, and by telling their story in the unlikeliest of settings, Concrete Cowboy feels vibrant and alive, even when it’s suffering from its own plotting problems.

Avatar: The Way of Water overstays its welcome but it sure is thrilling when it wants to be.

The Blackening is content to make a couple of easy observations and move on from the idea. It cuts itself off from actually maximizing what a great idea it is. If a meta-horror comedy can't nail its commentary, horror, or comedy, then it sadly isn't doing much.

"Deadstream" is a cheekily chilling vlog-life satire that scores its shivers and smashes more than like buttons — I can't wait to cram this one into my Halloween movie marathons as a goofball, gross-out, grim-but-gleeful crowd pleaser.

It's genuinely funny while also basking in the very believable romance of it all.

Fear Street is like a big soup pot full of everything – there are shades of Scream, A Nightmare on Elm Street, Stephen King’s It, Halloween, Friday the 13th, and more. Watching Fear Street brings back memories of wandering around musty video stores and browsing the HORROR section for the most lurid VHS box art you can find. There was something sacred about that experience, like going to church.

Ultimately, Scott knows when to let the script beguile the mind and when to let the action dazzle the eyes.

Truthfully, there's a shorter iteration of "Slash/Back" that I'd adore — but I still like what premiered at SXSW. You can't help but want to champion the film's trademark sweetness, shining a light on badass little girls who take on their entire community's enemies.

Fresh is shameless and hilariously audacious, anticipating critique even when it can't quite offer a response. But the film happily rolls with the punches, so self-assured that you're hard-pressed to let the flaws win out. Because even if its commentary won't linger, the experience of "Fresh" is something to savor.

Followers of Carax will be warmed by his return if a little disappointed it doesn’t quite recapture the magic, while fans of Sparks (many newly minted thanks to Wright) may appreciate the foray into a different outlet for their art. For those of us open to the experience but without a baked-in attitude to love this sight unseen, Annette proves to be a deeply flawed picture that still has many moments to recommend it.

By focusing on the shifting dynamics between our two characters and nothing else, viewers are treated to a cat-and-mouse game where its players refuse to let up. With the infectious energy of Qualley and Abbott, along with set-altering cinematography and a tight script, there is a lot to love about this new, sick take on the sex comedy.

The King of Staten Island wants to balance sweetness with humor, but it never quite figures out the formula. Many of Davidson’s quips are pretty funny, but there’s nothing here that’s going to stick with you – the next great quotable comedy this is not. The pathos fairs a bit better, but here the problems of Davidson’s range become apparent.

Shortcomings is a charming debut with plenty of fast-cracking jokes.

Sadly, some only listen when the quiet part is said out loud — Sissy blares its concerns and horrors like neon demons in front of the brightest ring lights.

Like Scream, Freaky understands and loves the horror movies that came before it. It takes these raw materials and molds them into its own unique identity, resulting in one of the most refreshing entries in the horror genre in a long time.

When it comes to Nicolas Cage movies where he fights insurmountable odds while losing his mind, The Surfer is a great time.

Instead, The Life of Chuck is one of the most insightful and moving philosophical films ever made, a movie that's as much Kierkegaard as it is King.

And yet, The Final Reckoning is too messy, too awkward, too clumsy. It somehow feels overlong and inert even as it never slows down.

And underneath it all is a beating heart; a tribute to both Boseman's loss and legacy. The emotional punch is more impactful than the physical one here, and whatever the flaws of "Wakanda Forever," its emotional heft is strong — and honest. There's no sense of manipulation here, only a sense of grief coupled with acceptance. What else can there be?

The routine genre elements are forgivable blips on a technically gripping journey through one woman's fight for survival in a world whose perils, like ours, are increasingly impossible to maneuver.

Smile 2 is relentless. It's a non-stop spookshow that just keeps increasing in madness, building towards a grand finale that pretty much absolves the film of any negative issues you might.

By humanizing the events of such a huge tragedy, Sara Colangelo shines a light on both the victims and the forgotten bystanders who were left behind, opening that closed-off compartment once more and bringing those folks back to the forefront.

For as dark as the story becomes, the film still has such a twisted sense of humor that feels right at home with Kravitz's sensibilities and social commentary. The pacing might be frustrating for some, and the intensely bleak material might be too much to handle, but that's precisely what makes Blink Twice so interesting.

It completely stands on its own and almost serves as an argument for a franchise starter (please, don't) because the combinations of different couples from different cultures are endless. Those who are willing to roll with the changes are in for a hell of a bonkers treat.

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

An endlessly charming, funny, and delightfully lo-fi British comedy.

What viewers are left with is a bold, twisting, and audacious thriller that will leave you breathless ... though maybe a bit underwhelmed by a nagging sense of déjà vu, too.

Sometimes you watch a film and know the moment the credits roll that you've witnessed something special, one that will become a beloved favorite and be passed down for years to come. The Imaginary is that film for 2024, a breathtaking feat of animation with a powerful story that lends it to being a generational classic in the making.

Devotion is far more interested in what's happening on earth rather than in the sky. It's a character drama with occasional bursts of action, and while there's certainly nothing wrong with that, the film ends up rather muddled. You can see the bones of something greater here, and Dillard remains a filmmaker worth paying attention to.