A lethal little ensemble feature that packs quite a few thrills into a compact format.

To All the Boys: Always and Forever is the most mature, and thus, most entertaining of the three films because it highlights the choices Lara Jean makes for herself instead of the choices she makes about other people.

This is a creature feature, whose gory jump-scares and icktastic critter design are the reason you're here. An ensemble led by Kristen Stewart brings credible camaraderie to the scenario without quite matching the vivid chemistry of Alien and its best descendants; with such a tightly packed survival tale ahead of them, though, few viewers will be calling out for more character development.

The pile-on of frenetic action sequences, especially toward the end, eventually becomes more wearisome than thrilling. Nonetheless, White Snake, a Warner Bros. co-production and box office hit in its native country, proves a superior effort that should find enthusiastic audiences on our shores.

A satisfying shot at bringing a classic of the sci-fi/horror genre to modern audiences. ... Hitting the main plot points with well-designed SFX and some impressive night photography, Stanley's film manages to be frightening indeed, even with star Nicolas Cage’s semi-farcical leavening adding some nutty laughs.

What Cruella lacks in script, however, it makes up for in sheer visual punch, with costume designer Jenny Beavan’s exquisitely detailed gowns especially enriching the angsty, sinister universe the film conjures.

There’s abundant joy, spirited resilience and sweet humor on tap that should be especially infectious for young LGBTQ audiences, or anyone with experience of outsider stigmatization.

Friedkin Uncut is at its most gripping when it discusses two early hits, The French Connection and The Exorcist, in which the theme of goodness struggling with the dark side explodes.

El Camino is a high-quality piece of suspense and action filmmaking carried by Paul's still-tremendous performance as Jesse Pinkman. It looks great, sounds great and if you're a fan, it's full of cameos and references that are sure to amuse.

Gretel & Hansel may alienate some horror movie fans with its extremely leisurely pacing and emphasis on atmosphere and mood rather than visceral shocks. But while the film certainly demands patience, it provides ample rewards with its lush stylization.

Thomas keeps the tension high throughout most of the movie, even if some of his scare tactics can feel redundant.

Sergio Pablos' Klaus invents its own unexpected and very enjoyable origin story for the big guy who gives out toys every Christmas eve. Shaking off most Yuletide cliches in favor of a from-scratch story about how even dubiously-motivated generosity can lead to joy, it contains echoes of other seasonal favorites (especially, in a topsy-turvy way, Dr. Seuss' Grinch) while standing completely on its own.

The film has its upbeat moments but can also be a tad gloomy — or maybe just classically Romanian, for anyone familiar with the recent cinematic output of that country — for what’s essentially a movie aimed at children. But the colorful animation helps to liven up the atmosphere.

What it has going for it in spades is supremely creepy atmosphere. The hospital virtually becomes a major character in the story itself, its washed-out coloring and neon lights making everyone look like they have a sickly pallor.

The documentary — a polished directing debut for veteran sound editor Costin — will leave many geekier audience members wishing it were three times as long.

There’s a lot to enjoy here in the performances of an appealing ensemble and the teasing, testy romantic badinage in which they engage.

Shot over four years in Kenya, the film boasts an undeniable authenticity, thanks to its filmmakers' quarter-century of experience making wildlife films in Africa. And while elephants are naturally camera-friendly subjects, their behavior here is captured with a particularly impressive immediacy.

Saving some of the best for last, director Philippe makes outstanding use of footage of what in the trade is called the money shot, the startling payoff that everything has been building toward — in this case, of course, the scene featuring the “chestburster.”

Driven by nuanced, persuasive performances and shot with an urgent, jittery tension, White Lie is a compelling close-up character study of a recklessly needy anti-heroine caught in an impossible dilemma of her own making.

An engaging, appalling but inevitably partial portrait of a woman who has navigated through countless political and personal squalls but remains irretrievably drawn to the flame of power.

Like horse racing, filmmaking is a high-risk gamblers' game, but the team behind Dream Horse, the resulting dramatization of the Vokes' story, have surely bred a winner with this endearing, determinedly crowd-pleasing adaptation.

Polsky crafts an engaging, in-depth examination of the intersection of politics and hockey as Russia struggles to gain its balance following the demise of the Soviet Union.

Olive paints a portrait of righteous rage and determination.

As a director Teng isn’t a standout stylist, and the film’s technical specs are perfectly adequate, not flashy. Similarly Send Me to the Clouds doesn’t go out of its way to be overly confrontational.

Even when the story feels strained, the chemistry among the performers has oomph as their characters taunt one another, celebrate big wins, ride out setbacks and mastermind double-crosses. And the uneven shenanigans sail home smoothly with an exhilarating and ultra-satisfying switcheroo.

A look at the infamous paper that emphasizes color over critique, it's a blazingly paced film that entertains and informs, even if many viewers who value journalism will groan as they watch.

With no commentary beyond audio clips and visuals composed almost entirely of historical footage, Periot uses the radicals’ own images and words to show how their discourse evolved over ten years from progressive to militant.

It can't be denied that Gift occasionally borders on being too New Agey for its own good, and, let's face it, its entire ethos can be boiled down to the simple phrase "Pay it forward." But don't be surprised if you're compelled to perform an unexpected act of generosity soon after seeing it.