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I learned pregnancy is sometimes gross and scary, but it's much more manageable with a friend.

Atlas tries to be a treacherous fight for survival and a perceptive social commentary on the dangers of artificial intelligence. But it succeeds at neither because the writing is so vapid, uninteresting, and immature.

Oxygen masks, internal organs, and bloody hospital gloves make Birth/Rebirth feel like a modern mix of Frankenstein (1931 and 1994) and Flatliners (1990), pushing the boundaries of life and death into unknown spooky territory.

Adagio is a patient neo-noir film without the expected gun fights, car chases, or mysterious women. This film is too thoughtful and too quiet for that, because it spends its time creating four human portraits of different men each with cloudy criminal pasts.

Challengers is an interesting study of relationships with an arresting soundtrack of thumping, techno, dance music. Like a trend forecaster at a fashion magazine might say, Challengers is a film that feels like now.

The Ministry of Ungentlemanly Warfare is filled with people who are not trying hard enough at all to give viewers something new, personal, or interesting.

Don't let the previews fool you. This film is not an action-packed adventure. Civil War works to be a more human story by showing the lengths reporters and photojournalists go to simply to do their job capturing the realities of war.

I get the feeling this film was never about telling a unique or articulate story. Even from the beginning concept of doing this remake, it was probably all about virile men showing off how to throw a good punch.

Shirley slips into the easy pitfalls of many biopics and history adaptations: it paints its subject as too much of a righteous saint/political figure and not enough as a human one.

I have to say Cabrini is not a disaster. The production design, costumes, editing, and cinematography, while very plain, all look professional and consistent. And it's nice to see something in movie theaters so proudly optimistic and working to spread compassion.

Casey gives us his take on this year's Oscars ceremony takes a look at the big winners of the night.

An important part of any memorable sci-fi film is establishing a fictional futuristic world that is marvelous and believable, and this film delivers that like you would not believe.

The screenplay has so little content, it can't even fill a 90-minute runtime. Drive Away Dolls is one hour and 24 minutes, but it felt so much longer. That's a bad sign when you lose all concepts of recorded time while watching a short film.

Maybe parts of this film are too watered down to reach a wider and less adventurous range of viewers. But it's entertaining, it will get people laughing in the theater, and it will remind viewers that love develops in all shapes and sizes.

I know my review for this one is negative, but I'm confident saying the lighthearted breezy films are just as important to watch as the more serious, heavy films are. That's why I think Anyone But You could have been so much better.

Self Reliance is not an award-winning comedy, but it maintains its relaxed vibe well and it's at least fun to watch.

UPR's film critic Casey T. Allen hosts a conversation with USU Professor David Wall on this year's 96th Annual Academy Awards.

Poor Things is like Frankenstein meets Alice in Wonderland with a heartfelt feminist core on the development of womanhood.

UPR's film critic Casey T. Allen joins Shalayne Smith Needham during All Things Considered to talk about this year's nominees, surprises and snubs and his own predictions for the evening of Sunday, March 10.

This version of sci-fi looks inward at the emotional repercussions of future advancements in science and the ever-deepening relationships between humanity and electronic invention.

The songs in the film are exciting kaleidoscopes of ragtime, gospel, jazz, and blues that completely transport viewers to another emotional realm that is joyful and wounded and everything in between.

Now comes my surprise saying I wasn't filled with delight or amazement when I left the theater. I walked away thinking Wonka is just okay. It's a fun option for families and children to enjoy (it's rated PG), but I don't think the film as a whole is magical enough to be memorable.

Don't watch Eileen if you want to feel hopeful and energized afterward. But you will get a fascinating peek into a woman's psychological breaking point.

The psychological thriller half of Saltburn is terrifically, darkly exciting. Audiences will leave the viewing of this film thinking how the constant wanting of beautiful things can turn disturbing and deadly.

The Holdovers is more than a funny, dark, heartwarming holiday treat. It's a warm hug to teachers everywhere and how they shape our childhoods (as well as our futures) for good. And who doesn't need a hug this time of year?