Tara Bennett

On the whole, Man on the Run is a visually and technically creative documentary that successfully contextualizes McCartney’s decade of metamorphosis as a person and musician via his second band, Wings.

Midwinter Break is most interested in the realities of long-term relationships—with unfaced trauma and graceful forgiveness alike—more than concrete absolutes, which is what makes it a valuable meditation on the imperfection of marriage.

For those looking to delve into more philosophical horror, We Bury The Dead is a thoughtful trek into the unknown.

The fourth theatrical feature film in the SpongeBob SquarePants oeuvre—The SpongeBob Movie: Search For SquarePants—doesn’t give audiences a memorable outing, much less a best day ever. It’s a big downgrade, and a huge disappointment for long-time fans of the subversive and unapologetically silly character.

Much like its locale, Dead Of Winter is a sparse but engrossing thriller, one that excels because of the nuanced work of its cast and Kirk’s focus on Barb’s grief amid the chaos.

Although the premise teeters on being twee, A Big Bold Beautiful Journey mostly works because its self-awareness keeps it from devolving into cliche … until it doesn’t.

It’s not hard to understand why global audiences turned out in droves to see Ne Zha 2. Its boundlessly creative visuals, rich character design, all-enveloping sound, and imaginative scenarios are truly original. But that sensory onslaught—those endless fights with their own progressive stakes—comes at the expense of focus, character, and story.

It’s not often that a rom com/dramedy works so hard to not be the very thing it purports to be until it feels earned. But Song labors with purpose, executing skilled character work and intimate, honest conversations to earn her swoon-worthy Materialists climax and resolution.

Sinners is a vampire story with something to say about America’s unresolved sins and reinforces that Coogler is one of his generation’s best filmmakers, mining something fresh from every genre he tackles.

Although Morales is an improv queen, the overriding gravitas of Hausmann-Stokes’ direction makes most of the intended comedy wither and land with a dull thud. However, there are some solid performances from the whole cast, and the opportunity to platform this topic is a plus, and in some cases, likely vital to veterans who will watch it.