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Thanks to David Fincher's thoughtful and cerebral direction, this film is less of an explosive action romp and more of a plaintive psychological examination of a man trying to do his job and trying to keep his head. The Killer isn't amazing or new but it's entertaining.

Because this film tries to lead viewers through so many different emotional hoops in a one hour and 43 minute run-time, What Happens Later is not emotionally engaging at all. It's also not emotionally realistic or creative.

We should all be thankful this chapter of 20th century America has made it to the big screen. I thought this film tells its story expertly, and I hope many more people make the time to see it.

The Burial is not a disaster, but it is a disappointment trying too hard to cover too many topics and clumsily mixing lighthearted humor and serious drama.

The acting is solid, the story is only predictable toward the end and the cinematography is hypnotically heart-stopping. The visionary style of The Creator obviously brings to mind the look of past sci-fi gems 2001: A Space Odyssey, Blade Runner, and Blade Runner 2049.

Is A Haunting in Venice one of the best films I've seen this year? No. But it remains mostly entertaining and is a great improvement from Director Branagh's previous two Christie adaptations.

Inside is not a psychological thriller but is more a psychological study on humanity and our constant needs to build or destroy, to read stories or write them, to consume or to explore. The pieces of contemporary art are shot beautifully in this film, but it could be more exciting and more interesting if it didn't spend so much time trying to be such an austere, psychological daydream.

This nihilist bent on the teen comedy feels so fresh, so crazy, and so aggressively energetic, it will delight many comedy lovers (especially dark comedy lovers.) Bottoms is a cringey, unpredictable addition to the growing wave of mainstream queer cinema that began last summer with the films Fire Island and Bros. I'm hoping this wave keeps gaining height.

A few artsy elements, with visual metaphors of dead birds and engulfing smoke, add some thoughtful style to this biopic. But I'm sad this one doesn't have enough fire to grab viewers' attention. Golda reminds me at least some creative license from the director is important, no matter what real-life story is being told.

Talk to Me follows in the footsteps of other horror films centered around haunted objects tormenting the lives of youngsters like Oculus (2013) and Ouija (2014). A few jump scares are peppered in this film, but it's the quiet, patient moments that succeed in scaring viewers, and those are themoments I'm still thinking about today.

I'm hoping Netflix, and all other streaming platforms out there, are ready to invest in films like this that have a pulpy grit and wonderfully three-dimensional performances.

This film does not tell a part of history everyone will like or even a part of history everyone will agree on. But it's not going to be a boring, thoughtless, or forgettable film this year.

This film is one half a plucky coming-of-age story and one half a battle of the sexes musical comedy. This isn't the movie of the year since Barbie was never a part of my childhood but it made me laugh and made me feel like I was part of an inclusive spirited party.

Resurrection is not a flashy or sexy film with a lot of twists or characters, but that doesn't mean it's boring or lacking anything. The artsy lens through which the conclusion is shown might be frustrating for some viewers, because important things are left unexplained. But that's part of the nefarious effect of this film. Just like the main character who fights for her life, even you will start...

Joy Ride follows in the footsteps of the other female-centered comedies released earlier this year Book Club: The Next Chapter and Polite Society. The actual logistics of travel, wardrobe changes, and flawless hair and makeup are not tethered to reality in this film. But that's not a concern for this film, and its four female stars more than make up for it with their distinct charm and commitment.

The philosophical leanings in Asteroid City are not for everyone. But this remains a fun and endearing comedy to brighten anyone's summer visit to the movie theater.

Summertime means one thing for movie lovers like me. It's the season of sequels. But this season feels depressing and monotonous to me.

Of course this film has jump scares and people dying, but it surprisingly doesn't have too much of that, because it remains focused on the psychological horror of grief and how that grief changes the members of this family.

I'm all for films that avoid predictability, try to do something different, and push the artistic boundaries of the medium. But it turns out a film that tries too hard to be an experiment in ideas or transcendence can be just as boring as an ordinary film trying to make some money.

The Mother follows in the footsteps of past Netflix releases The Grey Man from July of 2022 with Ryan Gosling (First Man, 2018) or Lou from September 2022 with Allison Janney (Bad Education, 2019) in that it's not very interesting, fresh, or exciting.

The production design is grandiose and out of this world, and the special effects makeup is mostly impeccable excluding the surplus of animal heads on upright human-like bodies. But all the good things about this film aren't enough to make it terrific.

Beau is Afraid is largely about difficult emotions and how those emotions stay with a person through different stages of life. It's a contemporary odyssey of what the world looks like through a lens of crippling anxiety, doubt, and panic.

Paint ends up being an example of what happens when you don't make enough decisions in a film's focus, its direction, and its identity. Maybe I just have the "wrong" sense of humor for this one.

With an all-star cast, a true story about real people, and lots of sports statistics, the new film Air seems to have it all to be a successful crowd pleaser. I learned many new things about Nike and Michael Jordan's parents throughout this film. Air just doesn't have enough heart or feeling to make it memorable.

Hive is the feature film debut from writer/director Blerta Basholli who presents a realistic, unglamorous, quiet view of her home country Kosovo and the societal effects of war. The narrative is patient and plain, but the emotions it explores are surprisingly complex.