Monica Castillo

As far as Scream sequels go, we’ve seen worse, but the wear and tear of the years are showing on Ghostface’s mask. The script is serviceable but surface-level, bringing up interesting ideas but never following though on them.

The Forger is constantly wrestling with its comedic impulses and the gravity of its time.

While there isn't enough to love about the film itself, there's enough from Antebi and Caribel’s stunning performance to keep God’s Time lively, making it a memorable feature debut for both director and star.

Chou’s Return to Seoul is an uneasy exploration of the concept of home and the heartache of losing it, following an imperfect heroine on her emotional journey to find a home in herself.

Centering the character’s experience is pivotal to making the movie so effective, but when it deviates from those visual guidelines, it feels like it loses a touch of its power. As a trained actor with a camera on him throughout the entirety of the film, Poikolainen shoulders the task with a stoic grace and a sardonic wit.

The scenarios of Hansen-Løve’s films can feel rarified and unique at first glance, yet they are painfully relatable on some level. They may be devoid of melodramatic showdowns, but there’s a quiet ferocity to them in the way they so deftly address our daily pain, insecurity, and loneliness, still resonating with us long after the movie’s over.

Kendrick’s performance is one of the strongest aspects of “Alice, Darling.” Under Nighy’s direction, they create an emotional portrait of someone on the verge of being lost to a warped distortion of love but who realizes they were surrounded by the real thing the entire time.

While this remix of "House Party" may leave some nostalgic for the original, it smartly doesn't try to copy the first film. However, it does stay true to the first version's celebration of friendship.

It may not come together as smoothly as the best feel-good movies of its kind, but there's an unwieldy charm to Joyride that makes the trip memorable.

Throughout To the End, there is a clear sense of urgency to the call for action.

The Swimmers is about a cause much bigger than the Olympics and is told on a personal scale that makes the issue accessible and unforgettable.

Similar to how Pixar’s Coco paid tribute to Mexican culture, Encanto holds many nods to its Colombian roots, from the use of flowers and animals specific to the regions to crafting songs that incorporated their respective countries’ musical palette.

India Sweets and Spices works so well in part because Ali gives her character the authenticity of someone trying to do the right thing while still figuring out how to handle her privilege and tradition.

C’mon C’mon is the kind of movie that invites reflection. It’s not building towards a larger cinematic event or full of explosions. It’s a sincere drama about relationships, told from the perspectives of different members of one family.

The game of wits between Phil and everyone else is a chilling one to watch, and it’s exactly the kind of end-of-the-year movie to finish things with a bang.

Some moments are sweeter than others, but overall, this cookie cutter rom-com has nothing more or less than what its subgenre demands.

There are some fun ideas and moments in Dead & Beautiful, but Verbeek seems to want to avoid offending anyone with the suggestion that the rich are vampires—which is the premise his movie is built on.

Crow’s camera captures the nuance of what these teens face and how law enforcement instructors and recruiters sell children on the idea of following in their footsteps.

The Blazing World falls short narratively and visually, not leaning hard enough into its stylistic possibilities to leave an impression past its opening credits. It’s fantasy for the sake of therapy, and there’s no romance or joy here in imagining a better realm.

Kempff immerses her audience into her character’s tortured headspace, like a tragic hall of mirrors that seems endless.

No One Gets Out Alive builds its suspense through scares both real and supernatural. While I’m less satisfied with its ultimate execution, Jon Croker and Fernanda Coppel's script has a lot going in its favor.

As far as coming-of-age musicals go, Everybody’s Talking About Jamie sends a charming, feel-good message of self-acceptance.

King Richard may be a fairly straightforward biopic, but it’s an enjoyable one, giving viewers the chance to enjoy a heartwarming if not uncomplicated story, talk about parenting and the stresses the many characters faced on their way to the history books

As tragic biopics go, The Electrical Life of Louis Wain isn’t interested in wallowing in misery. Instead, this amusing retelling of Wain’s life is a way to introduce his quirky illustrations to a new generation, putting them in a new light that’s more in line with the irreverent and animated creatures Wain once imagined years ago.

The parts of the movie that are going to resonate the most have the pacing they need to bring up one’s own memories of listening to a grandparent’s advice, of doing something you shouldn’t have to impress someone, or working up the nerve to talk to someone you liked. Perhaps these resurfaced memories are an unintended souvenir of visiting Branagh’s “Belfast,” but it’s one that may stick with moviegoers for quite some time after the credits roll.

The tightly wound human drama increases to a boiling point that simmers all the way to the credits.

While it doesn’t come together seamlessly, there are wonderful moments between Dinklage and Bennett, even Harrison Jr. and Mendelsohn have their moments to shine. Perhaps it’s why this version of Cyrano felt so bittersweet, leaving the audience with a sense of what might have been.

Pablo Larraín’s Spencer is a haunting reimagining of a tense Christmas holiday in the life of Princess Diana.