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I’m happy to say I didn’t hate this film. It was okay. Not the best of this year but also not the worst, and I hope lots of movie lovers will still give this one a chance in the movie theater.

“Primetime” feels like a contemporary tragedy of American acclaim or American power created through the operations of the media.

The historic, violent, and disheveled tone of this film is believable and consistent, but the director and his team forgot to make the tone dynamic as well.

This sequel isn’t a disappointment as big as “The Devil Wears Prada 2” was earlier this year, but it’s a distant second place so far.

This 96-minute film is not that scary or gripping, but it sure is entertaining, and it gives a much different look to the horror genre.

The simplicity and coziness makes the film feel like an intimate play on stage so every viewer can focus only on the actors in front of them, their smallest of gestures, and their sneakily verbal mixtures of deceit and honesty.

Hollywood is currently terrified to make a mainstream blockbuster not connected to familiar intellectual property, so “The End of Oak Street” does deserve some credit here being a new idea.

So much potential is wasted in this film, I found myself asking, “What kind of film is this trying to be?”

This feeling of moving through a game keeps "Exit 8" an engaging, uniquely alluring film experience.

I liked "The Odyssey," but it likely won’t be on my list of best films of the year.

The humorous qualities are so rich in this I spent half the film laughing and the other half holding my breath from surprise.

It’s just a bummer this film doesn’t make more of a deep impression as a whole. Isn’t that what good artistic expression should do?

At only one hour and 28 minutes, it's an incredibly succinct piece of horror film-making, and I highly recommend it to everyone.

There aren't enough new ideas in Disclosure Day to make it feel important enough for people to rush to the theater, but maybe you can wait for it to show up on a streaming platform in your home.

This rated R peek into the music business is an endearing portrait of ambition, family, and the blurry nature of ideas. So why was I so bored? Plus, a bonus review of "Masters of the Universe."

"Backrooms" is so different and so brilliant, you might feel the need to watch it more than once.

Like we already learned with the extensive Marvel Cinematic Universe of too many movies, maybe there's too many Star Wars movies already deterring this new one from feeling interesting and fresh.

I know this sounds dramatic, but this film is the best one I've seen so far this year.

The trappings might be traditional and customary, but I promise you, this will get your heart racing.

It looks glamorous and without visual blemishes, but it has nothing lasting or memorable to say.

Those of you who love the exploratory fringes of film away from the mainstream will enjoy the answers that come from this one. Emotional baggage has never looked this beautiful or this haunting.

All the dialogue is written with the emotional depth of an Etch-a-Sketch drawing, and too many of the moments meant to be scary are heavily referential to other horror films everyone already knows.

I had a great time with this film. It combines the surreal dread of an Ari Aster film with the nervous chaotic apprehension of a Woody Allen ensemble.

"Undertone" has some moments of brilliance, and it offers a lot of commentary on the growing isolation happening in collective youth culture.

"Project Hail Mary" is a lighthearted, endearing, adventure film with a few moments of comedy from Ryan Gosling. He’s a reluctant hero with a casually clumsy attitude.