Souvenir Part II is an easy recommendation on every level, a film that stands comfortably alone and allows Hogg’s journey to filmmaking, and Honor Swinton Byrne’s capabilities as a performer, to finally shine in a light that almost every cinema lover will be drawn towards.

The Bob's Burgers Movie is a little overlong. It takes a while for the plot to kick in, and by the time it does, it drags out the conflict, heightening the stakes to ludicrous degrees. And while it could've just been an episode of the show, it justifies its existence with its surplus of joyful musical songs and its surprisingly dark turns — which really only emerge in the last half hour of the movie. But mostly, it justifies itself by reaffirming why we always come back to the Belcher family. They're the sweet, emotional core of the movie, the meat of this mystery burger that we want to order over and over again.

Bright, colorful, and truly nuts, this movie is a breath of fresh air for those who are a little over the sameness of American blockbuster filmmaking.

Anaconda taps into a sweet spot that's just edgy enough to make adults laugh and just family friendly enough to let kids have a good time with their parents too. It's hilarious, harmless, and puts a fun spin on a familiar formula, even if the snake still looks fake as hell.

Nighy brings a dignity to the proceedings that you can't help but admire, especially when it comes to Williams' sudden self-awareness in his final days, and that helps keep your attention.

There's something near-magical about the strands of multicolored lights that occupy nearly every frame of the film, offering a winter wonderland contrast to all the carnage. 

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.

It takes some smart turns in the finale that modernize old tropes and give familiar beats a refreshing upgrade to relevant (but perhaps insufficient) degrees. The dialogue and situations feel real and authentic, and the performers land the material and have strong cast chemistry. At the same time, much of the movie is enjoyable but feels inescapably familiar.

While 136 minutes is a bit lengthy, even for this story — White Noise drags in parts, but again, so does life — the movie's electric, eccentric, and delightfully hilarious dynamic keeps you engrossed enough to make it to the end and finish out their story.

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

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.

12 Hour Shift never takes itself seriously enough to make the calamity that ensues anything more than “dumb fun,” and I mean that positively.

Carl W. Lucas‘s script is never quite as smart or profound as it thinks it is, but it does manage to tap into an inherent sweetness – an underlying sense of humanity and acceptance that counter-balances all the chaos and occasional bursts of violence.

There are countless superhero movies better than this. Better written, better directed, better acted, better made. And yet, Let There Be Carnage has a weird, quirky heart, and sometimes, that's exactly what you need to see.

If you’re into “Splatterhouse Cinema” that respects its elders and tenderizes human bodies without remorse, Joe Begos has a pile of discarded corpses waiting for you. It’s vile, slick with repugnance, and appropriately inhumane. A canon full of guts blasted straight into your face – the Fangoria way.

There’s artificiality to Emma. that, while it makes it a joy to watch and admire, doesn’t leave us with much of a lasting impact. But despite all that, it is refreshing to see an Austen adaptation that finally captures the author’s witty, satirical talents.

Skolimowski's close camera work and gripping story keep us alongside EO every step of the way. We're all rooting for him. And even when scenes veer ever more into the surreal side of things, we can't help but feel connected to the little donkey that could.

It's one story that provides a mere snapshot of a larger problem in the U.S. — but it's a very detailed picture, and one that humanizes the people behind the addictions.

So while Timothée Chalamet doesn't have the magic to hold the movie on his back, the movie around him is still rather splendid and enjoyable. Even if Chalamet ends up leaving a displeasing taste in your mouth, he doesn't end up ruining this sweet treat. 

Suspenseful, sinister and bittersweet, The Djinn is a cut-throat example of how effective horror can be with succinct decisions around dialogue and theatrics.

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.

There's plenty of slow creeping dread on display here, matched with that dark humor and two fantastic leads. It all comes together to make "Birth/Rebirth" one of 2023's more interesting horror entries.

The set-up is sound, and the film is gloriously twisted. But The Menu also lags — once we're clued into what's happening, some of the fun is gone.

As a celebration and an elegy for a creature that isn't and never was, "Sasquatch Sunset" is kind of beautiful and kind of ridiculous.

Twisters has its fair share of clunky dialogue, an endless amount of indiscernible technobabble (honestly, it's kind of impressive), and even a smidge of contrived melodrama, to be sure, but it balances out these shortcomings with a relentless sense of earnestness and heart that's difficult to resist.

This movie veers in some truly wild directions and it's not quite as polished as its predecessor. At the same time, it feels in line with what came before. It certainly doesn't betray the characters or the world Feig has set up.

"Brainwashed" isn't so much of a shocking revelation as it is an eye-opening wake-up call to be more thoughtful about how women are depicted in film and how that translates into our everyday lives.

It's a hilarious low-low-budget, rough-around-the-edges oddity that makes me very happy, and I hope someday it'll make you feel the same crisp beaver-beatin' joy.