The film has its fair share of intoxicatingly gripping moments and watching Kaluuya as Hampton is visceral and empowering. Unfortunately, it never feels like the story gets out of its own way enough to flourish, nor does it explore the complexities needed to emphasize and humanize the characters in the way that it should.

The Mauritanian is an incredibly powerful, poignant, enraging film, one that is uplifted by an incredibly magnetic lead performance by Tahar Rahim.

It’s fraught with frenetic energy and delightfully charming performances, but Blithe Spirit is not as funny or absurd as it sets out to be.

Flora & Ulysses has all of the right ingredients, but falls short of bringing them all together, leaving the film an uncharismatic and empty shell.

With no buildup, tension, or interesting characters, The Sinners fails in its execution and exploration in the themes it puts forth.

Tonally inconsistent, writer-director J Blakeson takes a big swing and misses with regards to the film’s message. Rosamund Pike gives a fiery, powerhouse performance, but there is something completely missing from I Care a Lot that makes it a hard pill to swallow.

Nomadland might tell an unconventional story, but thanks to Zhao's careful hand and McDormand's performance, it will resonate with all audiences.

Silk Road has the makings of a gripping thriller, but it surprisingly lacks the tension required for it to work.

The film does an outstanding job elevating its horror with a sprinkling of disconcertment, but it takes a wrong turn by offering a muddled message.

The film is overly long, dragging out its story unnecessarily, with Daniels haphazardly shifting focus away from Holiday constantly. The film is unbalanced, generally failing to center on the song driving the story while romanticizing an affair between Holiday and a FBN agent.

Despite its drawbacks the kids will still love it, it's still epic and entertaining for adults, and the movie still manages to say something inspired and meaningful - even if it takes a little longer to do so.

Visceral and uncompromising in its vision, PVT Chat etches a gritty portrait of eroticism in the digital age with great nuance and authenticity.

The World to Come has the ingredients to build a blossoming love story, but the script is thin and far too rigid for the romance to ever fully soar.

To All the Boys: Always and Forever offers a heart-meltingly sweet, warmly cheerful and charmingly hopeful romance that delivers a much-needed breath of relief amidst this cold and bleak winter.

From a bizarre villain to unexpected musical numbers, Barb and Star Go to Vista Del Mar is egregiously bad, but with splashes of occasional humor.

By not giving into what might be expected from a typical immigrant story, Chung has given the material space to breathe on its own, creating a space that can be appreciated by all kinds of people. The cast shines, the story hits home, and Minari stands as a winner.

In Land, actress Robin Wright’s directorial debut, the sad, isolated feelings that come with bereavement saturate the story, but the film has surprisingly very little to say about grief.

Written and directed by Mike Cahill, Bliss has strong ideas about economic inequality and it ambitiously works to pull off being a sci-fi thriller that is layered with social commentary. However, the film falls short of delivering something more compelling and complex, primarily because it's trying to do too much at once.

Where there could have been thoughtful, poignant commentary about life’s regrets and the turmoil that can continue to permeate a father-son relationship over time, Mortensen drops the ball completely. Without a cohesive story, Falling spirals and offers little beyond good performances.

While the film could have spent more time specifically exploring Margaret’s life, The Map of Tiny Perfect Things is a thoughtful, charming, and heartwarming film that utilizes the time loop aspects to great effect.

Ultimately, First Blush works as an engaging, compelling exploration of how a change in a relationship can also wake up unresolved personal issues. However, while the first half is incredibly strong, Neumark struggles with bringing it all together in the end by rushing to bring the characters into conflict with one another.

Earwig and the Witch has all the parts needed to be a fun and memorable film, but seems to lack the manual for how to bring it all together.

Quietly immersive and poignant, Supernova excels as a showcase for leads Tucci and Firth, even when the story can't quite match them.

Masterfully written and directed, Saint Maud is a captivating, compelling, and disquieting horror film that is distinct and incredibly intense.

Although helmed by Washington’s visceral performance & nostalgia-addled slow-burn, The Little Things eventually falters due to its own clichéd tropes.

Finding ‘Ohana continues the tradition of balancing heartwarming family bonding time with genuine humor and wondrously exciting escapades.

Often ridiculous, yet perennially fun, Psycho Goreman is a clever, schlocky genre-mash with characters one cannot help but ultimately root for.

Notturno is sometimes beautiful and Rosi makes good use of private spaces. But, the film comes off as an exploitation of the region and its people’s pain.