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"The Fabelmans" is rich in cinematography showing clear beams of light cutting through darkness at every angle. Yet it works too hard to remain optimistic and sweet.

Viewers will have a good time watching this film. Especially viewers who love movies. Babylon is not the movie of the year for 2022, but it's one of the good ones.

"Tár" avoids taking sides about cancel culture or its characters — that's for the viewer to determine — and that's what makes it such an intellectual cinema experience.

The film focuses on Emmett Till's mother, Mamie Till-Mobley, and how she endured criticism to expose the racism behind her son's murder and bring the killers to justice.

"Barbarian" spends lots of time on characters' backstories, but they're too boring or heinous to connect the audience to the characters.

This film's bite could have used a lot more teeth. So instead of enjoying this new English language version of Goodnight Mommy, I kept thinking to myself, "The original version is better."

Blonde has zero comic relief and no moments of levity. But its consistent solemnity helped me understand this film is not a biopic, not a tribute to Marilyn Monroe's life, or not even a cautionary tale on the dangers of Hollywood. In fact, Blonde is a horror film that gives an unflinching, plaintive look at the terrors of the male gaze and the traditions of objectifying women.

Even though some twists are predictable in Don't Worry Darling, some are not, because the story takes its time watching the leading lady anxiously piece together her reality and her memories.

The Woman King is a painfully familiar hero's journey about unity, ferocity and courage. Throughout this film, I had difficulty getting swept away deep into the story because it kept reminding me of other films.

A more accurate title for this film would be "108 Minutes of Mild Introspection."

The film recounts the rescue of 12 boys and their soccer coach, who became trapped in a cave in northern Thailand when it flooded from unexpected monsoons.

Don't ask me why this film's title is "Vengeance," because there's nothing hostile or rancorous about it. A more indicative title would probably be "Self-Righteous Analysis of Society Through Podcast or Invisible Humor."

I Love My Dad is a comedy that delights in the uncomfortable, but it also honestly portrays the emotional power of social media by showing how weeks of texting and online conversations can grow into a relationship....or at least what feels like a relationship.

Although UFOs are the focal point for much of Nope, the film is really a salty and forceful display about peoples' constant addiction to new content, new stories and new outlets to entertain.

Instead of a feast of physical and psychological crumbling, Gold feels like just an appetizer only touching on the dangers of the desert, the consequences of greed and the fear of possible hallucinations.

A movie can still be a good one if it doesn't have much originality. It just won't be remembered for very long.

The film presents a darker side to Elvis, juxtaposing nefarious ideas to make money against the glamour of fame.

You've heard the phrase less is more, haven't you? Well Jurassic World: Dominion has never heard of it, for it throws everything (including the kitchen sink) down your throat in an effort to be a multi-faceted spectacle.

Emergency feels like one part Superbad (2007) and one part Queen & Slim (2019) offering topical social commentary on racial anxieties in a specifically youthful world.

Is Men supposed to be an indictment of male aggression and entitlement told through naturalism? Is it a science-fiction story of how a tragedy haunts you through unknown forces? Every viewer will need to decide for themselves.

Experimenting with a non-narrative film structure and theoretical subject matter is boldly exciting. But does it have to be so difficult to understand?

A revenge-centered Viking life is inherently brutal, but the fighting and killing is so bloody and embellished that the film becomes a gratuitous orgy of masculine fantasy instead of the darkly psychological epic it tries to be.

Everything Everywhere All at Once is a perplexing and stirring tale of one woman's journey of identity.

Recently we've seen a number of new films proudly devoted to boring portrayals of masculinity in their most predictable and stereotypical forms. At least All the Old Knives tries to offer a portrayal of masculinity that's more intelligent and thoughtful.