Tringle of Sadness is an utterly hilarious satire told in three acts, each more ludicrous than the last.

Great as our actual dads might be, they simply cannot compete with Costner. The guy perfectly hits all the right notes: honesty, dignity, quiet reserve, rugged Americana – all qualities we want in a hyperbolic father figure. Let Him Go exploits all this and reminds us of one other thing he’s good at: ass-kicking. But Let Him Go isn’t really Costner’s movie. Instead, it belongs to Diane Lane as his wife.

Practically every immaculate shot in Maria is framed as if it were the title character's own theater stage. This makes an apt runway for Angelina Jolie to do her thing and deliver easily her most dialed-in performance of the last decade (or more).

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.

The Rip does give us a handful of scenes where Damon and Affleck's characters bro out, but these are brief flashes of light in a sea of darkness. I'm all for dark and gritty crime dramas, but "The Rip" never feels like much of a movie, more like a pilot for a new, particularly violent "Law & Order" spin-off. Matt Damon and Ben Affleck are movie stars, why hire them for anything less?

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.

The final 20 or so minutes of In the Earth are downright impenetrable, and while that’s no doubt the point, it doesn’t make the experience any less frustrating. In a sense, Wheatley has successfully recreated the experience of stumbling around, lost in the woods, unable to see the forest for the trees.

Beau is Afraid is big, and weird, and kind of wonderful. There will be those who simply cannot stand the fraught world Aster has created here, and there will be others who are fully on board with what the filmmaker is dishing out. No matter the reaction, this is a film that begs for conversation and analysis and plenty of pondering. And it's more accessible than you might think, despite all the lunacy.

A Haunting in Venice does try to spice things up, but all the skewed angles in the world can't hide the fact that this mystery is half as eerie as it wants to be, and roughly as entertaining.

The stage is set for all sorts of misadventures, and sure enough, Grant’s film leans into them, heavily, resulting in a film populated by repulsively stupid characters who keep making dumb decisions. The film’s premise has tons of potential, but you won’t find any of that here.

It would've been incredibly simple to give us a traditional "Matrix 4."  Instead, The Matrix Resurrections takes its big-budget and runs wild with it. And while there are more than a few stumbles here, any modern-day blockbuster that's this unafraid to subvert expectations is worth celebrating.

While it does occasionally feel a little too one-note and repetitive, even in its brief runtime, a host of wonderful performances, meticulous set detailings, and expertly claustrophobic cinematography make Peter Von Kant worthwhile.

More than anything else, Thanksgiving is a gnarly, entertaining, and gleefully over-the-top fright fest — one that demands to be enjoyed in rowdy midnight screenings at repertory theaters for years to come.

Anything's Possible perfectly captures the idealized fantasy of teen movies without ever insulting the intelligence of its audience, and finally gives us a feisty, relatable, and lovable trans girl to add to the teen girl movie canon of greats.

Overall, the film is on point with its incredibly smart casting, and that victory aids in fully shaping the world Price Williams and Pinkerton concocted in their zany witch's cauldron.

The film is so laser-focused on Joy there's often no room for anything, or anyone else. But I hope "Call Jane" finds a wide audience, and if the film's somewhat sanitized portrayal of events helps change a few minds in regards to the issues at hand, that will be a net good.

Totally Killer tries to skirt responsibilities by having you laugh at its self-awareness, which works as much as it doesn't. Kiernan Shipka will be the reason people talk about Totally Killer, even if the film's foundation of paper cards is one strong gust away from collapsing at any second.

Ruthless, deeply cynical, and thrumming with jet-black humor, Dual is a Riley Stearns movie through and through.

This is one of those movies where the soundtrack is far and wide the best element. 

A painfully slow slog, this horror film from Romola Garai has plenty of good ideas and a few neat creature effects, but that’s not enough to salvage things.

Beetlejuice Beetlejuice is a small film, one that is comparable in size and scope to the original. Its greatest ambitions are to funky and freaky and weird, like it wants to make the filmmakers laugh first and hopefully the audience comes along for the ride.

Hansen-Løve is undoubtedly aided by the soulful performances she draws from her two leading actors. Banerjee, in her first on-screen appearance, both dazzles and delights with an effortless charm. But it's Kolinka, making his third and most substantial collaboration with the director, who leaves the lasting impression.

This is a tight, snappy, simple little thriller that never overstays its welcome and doesn't skimp on the horror, with two strong performances guiding us through all the bloodshed.

This is a movie that sets out on its own dark mission, and accomplishes that mission with a skill that is undeniable.

Alternating between exuberant and exhilarating, heart-warming and horrific, "The Swimmers" is an ambitious picture that tells an almost unbelievable tale of struggle, perseverance, and triumph.

At the end of the day, however, one will walk away satisfied with the characters and moved by a bleak and tragic ending, but left with little to carry in their memory. Ironically, a film about the painful suspicions of the past and the aching nature of memory is largely unmemorable. 

Cats Don't Dance is hilarious and infectious. Dindal was clearly a student of 1930s Warner Bros. cartoons, and wasn't interested in the slick, human figures of a Disney film. He wanted to go off-model, letting the characters squash and stretch with the best of them. 

Fall doesn't break the mold, and there are a wealth of one-location thrillers that are much better than this. But when you're climbing that tower with Becky and Hunter, you can't help but follow along, nervous, but still exhilarated by the journey. Watching "Fall" on a big screen and experiencing the nerve-shredding vertigo that comes from the proceedings is the kind of pulpy fun that memorable late-summer movies are made of.

Shephard's steady direction and clever script allow things to hit exactly the right note. Deutch, O'Brien, and Isaac are all terrific, and "Not Okay" is one of the most pleasant surprises of 2022.

Free Guy is the equivalent of a pop earworm – something a little tinny and artificial that nevertheless worms its way into your brain, whether you want it or not. Which makes it rather fitting that the big emotional crux of the movie is actually based around a pop song. And that the film’s star is epitome of pop likability: smooth, digestible, inoffensive — yes, even with all the curses that roll off his tongue.

If you loved Universal’s Mummy but wished it had more Peter Cushing and Christopher Lee, here you go.

This may not be the epic "Power Rangers" reunion some fans may have hoped for, but Mighty Morphin Power Rangers: Once & Always is very much the love letter to the last 30 years of this franchise, where it all began, and where it is going.

There are a few talking heads, including some sincerely powerful stuff from Sly's brother Frank, but Zimny wisely lets Sly be the focus. His control of the narrative might mean the film is narrow in its scope, but by the time the credits roll, like a "Rocky" movie, you'll be begging for a sequel.

Flora & Ulysses is, at its core, a very nice and sweet film. It’s low-key, but frankly, that’s fine. Sometimes, the stakes in life don’t have to get much higher than whether or not two struggling adults can find each other again, and whether or not a child can traverse a world without a strong family unit.

It's a movie that delivers exactly what it promises. You pull up to the drive-thru, you order your food, you get what you pay for. A fine Saturday afternoon if you ask me.

While Osei-Kuffour Jr. is able to conjure up more than a few disturbing moments – everything involving the mysterious twitchy man is great, aided by effective sound design full of rattling bones – Black Box loses steam rather quickly.

Haunting, harrowing, and hypnotic, Eight for Silver is a werewolf story with a lot on its mind.

A Glitch in the Matrix is more than just a conspiracy theory movie: it’s about how we function in a societal system, how we interact with other people, and what happens when we embrace a worldview which seemingly offers answers to things in life that don’t make sense to us. But the movie stumbles over its muddled execution of some of those ideas, and as a result, can’t help but feel like a letdown.

Traditionally, films that are this delightfully raucous, bloody (and I mean BLOODY), and silly are relegated to B-movie schlock (not a bad thing, for the record), but "Abigail" still embraces the excessive and ornate gothic aesthetics of classic horror movies. The result is an old-school vampire movie with modern frisk and flair and an absolute blast of a movie to watch with a crowd.

As far as directorial debuts go, The Rental is a strong start for Franco, who proves here he can take not just one but two different tried-and-true genre formulas and rework them into something neat.

Seven Veils feels like Egoyan struggling under his own expectations, just like Jeanine begins to crumble under hers.

Cuckoo is equal parts head-scratcher and mind-blower but so ridiculously audacious that it's impossible not to obsess over.

The Monkey is a blood-soaked barrel of laughs and grisly kills that never finds an effective way to reconcile either of those.

Admittedly, How to Train Your Dragon is not terrible like some of the Disney remakes out there, and it's better than almost all of them, but it's not substantial enough to warrant its existence.

In the end, Copshop is aggressively okay, and that'll probably be more than enough for most viewers. 

The romantic comedy is painfully self-aware but rarely clever, instead falling back on rom-com tropes that were creaky back in the modern Shakespeare adaptation heyday of the '90s.

Sometimes the jokes aren't funny so much as they are vindicating; it's cathartic to see a movie capture all the little insulting ways that low-wage workers are often treated. 

Tearful confessions and big dramatic beats fail when contrasted with the emotions that swell up from the unblemished beauty of the landscape. It ultimately left me cold and feeling as if Land‘s central drama was unable to compete with nature.

It exists in its own little world, blending genres with surprisingly strong results. What starts off seeming like a quirky rom-com quickly morphs into something far more disturbing, and strange.

Avatar: Fire and Ash is a triumph of genre filmmaking, proof that sci-fi/action can be both deliriously daring and thoroughly thrilling. At this point, I can't wait to go back to Pandora.

Heart Eyes is solid enough to entertain. The jokes land, the leads are great, and the romance storyline is surprisingly sweet.

One can't help but note the irony of a film about the pivot from the silent era to the talkies having such a loud, booming start but ending with a muffled thud.

On its own, Peter Pan & Wendy is enjoyable enough. But that too is a low bar, and considering that David Lowery has already made Disney's one truly great remake, it's perhaps logical that he wouldn't hit another home run. It's good that he tries, even if this isn't quite successful enough to clear the fence.

Dog is a little sentimental and travels down well-trodden paths, but its gorgeous execution and charming performances make it the feel-good film we could all use in the depressing doldrums of February.

Fear Street Part 2 also thrives once it really gets going. There’s a certain rough patch at the start that the film thankfully shrugs off, eventually sucking us into its night-dark story of doomed youth. A potential – and potentially questionable – romance that blooms between Ziggy and Nick Goode (Ted Sutherland), the boy destined to grow up and be sheriff, is charming in its clumsiness. A side character like punk rocker counselor Alice (Ryan Simpkins) seems annoying at first, only to blossom into someone we’re actively rooting for. After two films, the real strength of Fear Street is in its characters, not its scares. No one is expendable meat here – but that doesn’t mean they won’t get ground up in the end.

The most impressive feat Black Phone 2 pulls off is finding a way to bring The Grabber back that feels coherent and actually adds to the character. We get some backstory on the child-abductor that comes across as deepening the character rather than just answering questions that no one asked.

It’s an interesting idea on page, but in John and the Hole, it is all a little too opaque to make sense of Sisto’s muted portrait of adolescence.

Onward is a decent, well-paced, well-animated, moderately enjoyable film. It’s got a good message, an emotional third act, and some pleasantly surprising jokes. Onward is…OK. The problem with Onward is that Pixar’s original films are incredible. OK is, simply, just not good enough.

With director Tanya Wexler lending the crime dramedy a zippy, irreverent flair, Buffaloed becomes the vehicle for which Deutch can finally show off her chops.

Stargirl is a slight, but cute teen dramedy.

Overall, the details of Blue Beetle are fun, and the characters may inspire a few warm familial smiles, but the whole is frustratingly shabby and rushed.

Tetris is a fantastic look at the story behind the rights to one of the most popular games ever, a movie that shows that video game adaptations (like games themselves) can come in all forms and be great. This is a crowd-pleaser through and through, and much like the game that gives it its title, it is hard to look away once its title card drops.

Awkwardness ends up being the name of the game here, with Eisenberg constructing an intentional cringefest; the type of movie that has you squirming uncomfortably as you're forced to watch oblivious characters make total asses of themselves.

After an opening kill sequence that bucks convention and suggests a much better movie, Scream 6 grows tedious as it attempts to catch us up with the returning characters and introduce new ones.

Emerald Fennell remains a filmmaker to watch, a provocateur who's downright giddy to sit in the muck with you, teeth flashing in a deadly grin. And in Barry Keoghan, she's found a collaborator who understands her nasty sensibilities and digs in up to the hilt.

What The Pod Generation lacks in cohesion it (mostly) makes up for in laughs.

It’s not saying anything deep or groundbreaking about the female experience or the nature of revenge. Birds of Prey is reveling in being as gonzo and stylish as it can be. But when the fights are this thrilling and the humor this absurd, whatever’s underneath the surface doesn’t matter all that much.

The Killer is a pretty cool made-for-streaming action film with solid performances, fun set pieces, plenty of melodrama to go around, and Woo's signature wordplay that may inspire eye-rolls from some but a sensible chuckle from those of us with good taste.

Like any given episode of "SNL," Jason Reitman's "Saturday Night" is not perfect; there are highs and lows, and the cast just might be too big to adequately hit all the finer points in a satisfying way. But the outcome is an ultimately satisfying showbiz romp with equal parts comedy and drama that is full of effervescent life, outstanding performances, and a wealth of laugh-out-loud moments.

Part Brian De Palma flick, part Invasion of the Body Snatchers, part Dracula, and part Stepford Wives, Bad Hair filters its influences through Simien’s hyper-specific passions and unique sensibilities to become a singular horror comedy from a singular filmmaker.

While I would've liked the layout of the house to be better established, No One Will Save You makes the most of its limited locations, proving you can have big thrills and chills in restricted spaces.

There's a goofy sincerity to the movie even as it sends up better movies that came before it (complete with corny needle drops), and it retains that old Hollywood screwball spirit that gives it a timeless feeling. It's nothing new, and lord knows it's nothing groundbreaking, but boy, is it fun.

Paired with Danny Elfman's fizzy score, Raimi elevates "Multiverse of Madness" from the bridge-building bit of IP it so transparently is. While he doesn't quite elevate it to the "madness" that the film promises, he does, for a few brief, shining moments, show the kids how those superhero movies could be done.

When it comes down to it, Freakier Friday is lively, fun, charming, and just plain delightful.

Is it exceptionally groundbreaking? No. But it's fun, and frothy, and clever enough that it makes for an easygoing hour and a half watch.

Frequently funny and consistently stylish, Wolfs is a solid and serviceable enough addition to the genre — though one that's perhaps a bit too indebted to the influence of Scorsese. 

Glorious might not save the world, yet it's still a wonderful way to pass the time while humanity as we know it is devoured by threats we'll never comprehend.

The Many Saints of Newark is smart enough to point out that Livia isn't an anomaly in this world — she's just another borderline-sociopath who has found her place among murderous men.

It's a nifty, quick-witted slasher pic, and at this point in this particular franchise, that's more than enough.

Lightyear may not reach the heights of the great sci-fi movies that it pays tribute to, or even the "Toy Story" movies themselves. But it's a visually impressive, escapist riff on the sci-fi epic that, at the very least, might become the favorite movie of some kid, somewhere.

The Whale" stays too intellectual in its exploration of the physical and spiritual dimensions of redemption to and from bodily captivity. This comes at the expense of the director's strengths in the visceral realm. It restricts what could have been a truly great comeback performance from Brendan Fraser into being merely a good one.

Despite its very flawed ending and baggy structure, Stillwater goes against the tide of our expectations and offers us a disarmingly affecting character study, anchored by an exceptional performance by Damon. Not even his bad beard could distract from that.

Song of the Thin Man is a slight improvement. It's got more laughs. And it's got an 11-year-old Dean Stockwell as an amusingly precocious Nick Jr.

The film, directed by Portlandia helmer Bill Benz, is too much of a hodge-podge for its own good.

Tom McCarthy gives us a film that serves for a fun family movie night, complete with important lessons, deadpan humor, and, well, a polar bear.

If there ever was a role that played perfectly to Pascal’s natural charisma, it’s Maxwell Lord.

Three Thousand Years of Longing tells a fantastic and poignant story about storytelling, longing, and love. It's about the art of telling smaller, intimate stories at a time when big stories seem to only be valid. A fairy tale with more in common with "Babe" than "Mad Max," this movie reaffirms George Miller as one of the great magicians of cinema working today.

Jumbo is a ride that might be worth taking once, but don’t be surprised if you walk away from it feeling more than a little disappointed.

This is an intimate film with grand ideas, a small boat floating on a giant ocean, and the extraordinary discovery at the heart of the narrative is outweighed by the sense as a filmgoer that we’re seeing a talented director coming to the surface, sticking her tendrils in, and reshaping our expectations as we’re taken along for the journey.

The blood is good. The traps are good. The series' nastiness is intact, even as it all looks a bit bigger and a bit slicker. The important thing is that "Saw X" continues to be unafraid of its own continuity, so infatuated with its own delightful bulls***.

Den of Thieves 2 frequently feels less abrasive than the first film; almost kinder. At the same time, there's still a scuzzy, energy drink-infused atmosphere at play that only adds to the charm. This is junk food cinema, and sometimes, that's exactly what you're hungry for.

Arriving during Martin and Lewis' heyday, The Caddy is a fun slice of entertainment with enough wacky humor and bouncy tunes ("That's Amore!") to hold one's attention for 90 minutes.

It's Lifestyles of the Rich and Clueless in Ridley Scott's House of Gucci, an odd duck of a film that wants to serve you both a scrumptious gourmet meal and greasy fast food in the same bite.

A better director would have improved its flaws, or maybe pushed Sorkin to go through some of the elements and refashion them. "Being the Ricardos" needed a different voice; the one here profoundly, obstinately refuses to grasp the inner workings of the comic mind.

Crowley may be telling a melodramatic story, but he studiously avoids sentimentality.

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

Though Munden attempts to overload our senses with rich visuals, The Secret Garden does end up feeling kind of slight, like the film rushed through the SparkNotes version of the story.

Sadly, as creative as The Silent Twins is, and as much homework as the filmmakers clearly did in replicating the details of the story and the works of the twins, the film never fully says anything meaningful. Not about the real Gibbons sisters, not about race, not about mental health and its treatment in the U.K.