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Knew Pattinson was gonna rock my socks off, but didn't expect the rest of the movie to deliver in as similar of a fashion. Holy ****. This is as much the Lance Oppenheim show as it is the Robert Pattinson hour. So appealingly stylized, beautifully expressionistic in its clearly heightened depictions of real events and incredibly well edited too. Really, really loved the aesthetic soul of this picture and I think the execution ultimately puts this somewhere around the comp of "'Network' meets 'American Psycho' by way of David Fincher" and I could not get enough of it. On a thematics front, clearly some of us were not ready for the type of nuance this film was interested in putting forth, but I ultimately don't think what's being said is all that controversial. This is very basic "do the ends justify the means?" type stuff we're dealing with here and, I mean, I don't know if there's a good answer. ****, I don't think filmakers claim to know either. But there's something to be said for the dangers of monetizing content and the content industrial complex overall that I think this film is more than justified in criticizing. That doesn't mean this is an endorsement of the real-life antagonists and anyone who's claiming that is acting in bad faith, plain and simple. It's fair to look at the methods of a person fighting something we all think is horrific and ask: "hey, is there maybe a better way we can go about this?" In any event, I had a great time with this. Super dark, super frenetic and Pattinson is unbelievable (as always).

After "The Odyssey," "Lanterns" and now this, 2026 continues to rage on as a banner year for those of us who actually shut the **** up and let a filmmaker cook before rendering a verdict on something. RIP to all the chud-kin and the **** all seriousness though, if you're a devoted fan of these games, you have to at least admit this is a good movie, even if it's not representative of the source material in the ways you wanted. For me, though, I love the games and I had a helluva time with this. Sure, it's not a one-to-one of any one game, but not every adaptation is gonna pull from the source material in the same way. This, in more ways than just one, is as much an adaptation of the spirit of the games, rather than the letter, so to speak. You'll see and hear the words "Racoon City," "Umbrella Corporation," etc., but what this does more than any other previous attempt at adapting these ganes is actually focus on the damn gameplay. The desperation of a character searching through a dark and creepy house. The dingy unknowns of an possibly-inhabited sewer. The stark sterility of a deserted medical corridor. And God damn does Zach Cregger make all of this look so good. By far, one of the most visually arresting adaptations **** you'll find anywhere. Austin Abrams is fantastic, depicting what's essentially an everyman inside the extraordinary circumstances of the original game; a stand-in for every player who's ever picked up the game, but never actually fired a gun in real life. This is a brilliant choice and it makes for a real, natural sequence-style approach to the structure that I found to be both thrilling and innovative. Also, as with other Cregger projects, this is very, very funny (something I don't think a lot of fans of the games want to admit is as much a real hallmark of their beloved franchise as a locked door or a typewriter-studded save room is ). God, I had such a good time with this. If you haven't already, go out, vote with your dollar and see this. We need more video game adaptations like this at the cinema.

The platonic ideal of "mid." Generic concept, tried and true characters with cookie-cutter backstories and about as sanitized of a voice and tone as you could imagine. Alan Ritchson and Owen Wilson clock in, but this is admittedly ho-hum work from them, when you look at other, similar offerings from their respective filmographies. It's a shame because there's some glimmers of talent from behind the camera: a couple of fun set pieces and bits within fight scenes and such. There's just not much else behind the eyes here, so to speak. Almost feels like a "pod person" type of movie. It looks like a movie, there's a beginning, middle and end, etc. There's just something off. Maybe it's that lack of a real, true USP. Maybe it's the lack of a real edge to the subject matter; the "squeaky-clean" veneer that's been globbed onto everything. I don't know. Something's just missing from this one and it's a little uncanny. Still, I've seen far worse.

Adult Swim veteran Casper Kelly takes his twisted talents to the cinema with "Buddy," a satisfying blend of dystopian surrealism, analog horror and good, old fashioned gore. In many ways, this is the perfect blend of two of Kelly's most well known projects, taking the old time television trappings of "Too Many Cooks" and melding it with the blood-soaked antics of "Your Pretty Face Is Going To Hell." Gotta love the amount of fun Keegan-Michael Key's having here too. Really elevates the whole picture, which is much needed considering what's happening on paper in a lot of these scenes. Had a couple questions that I wish the ending would have answered, but honestly, this didn't feel like something to scrutinize too intensely. Great production design is elevated by an absolute commitment to absurdity by every cast member involved. Was cool deciphering the mystery of how this world works and you even get a couple great laughs along the way. Pretty solid amuse-bouche to the spooky season soon to come.

Gotta be one of the biggest surprises of the decade: not just the fact that this movie is very good, but that we even got a chance to see it at all, especially after everything it's been through. "Coyote Vs. Acme" is an imaginative, anti-corporate delight, with beautiful animation, biting humor and honest-to-God pluck. Even with all the hype that came out regarding the test screenings for this, I think I was still somewhat skeptical as to how they would thread the needle between "courtroom thriller" and "live-action/animated kids movie featuring Looney Tunes characters." Somehow they pulled out off. They even managed to fit a shocking amount of emotionality and tenderness into this that I had no idea I needed. Shout out to Warner Bros. for inadvertently Streisand Effect-ing this into being much more than just a tax write-off. Turns out that was the real screw-up and not the decision to greenlight this movie after all.

Honestly more of an interesting genre pivot for writer/director David Robert Mitchell than it is an interesting movie, per se, but I was happy with it overall. Hate to undercut a movie and say that it's "mindless fun" or a "turn your brain off flick," but it really is best enjoyed with as minimal analysis as possible. Dinosaurs + 80's suburbia sounded like some kind of "Jurassic Park/World" prequel to me, but I think this actually does enough with its tone and depictions of violence to pitch itself into the more "adult" side of things. I say that, but then it'll will throw some absolutely juvenile poo or sex joke your way to semi-derail things. Can't win 'em all, I guess. Anne Hathaway keeps things afloat in as unsurprising a manner as you could expect. I dunno, I wasn't too upset by this one. I guess I wish there was a little more there in terms of thematic weight and characterization, but then again, that could also jeopardize the tonal integrity of everything. Not too bad, but not really something you have to sprint to the box office for.

Destin Daniel Cretton trades his "Ten Rings" for web-shooters in this fourth installment of Sony/Disney's Spider-Man franchise. Although, is this purely a Spider-Man movie? Or, is this a backdoor pilot for a completely different set of characters in the MCU? Look, I'm no stranger to soft-launches in Marvel movies, but this was a bit more of a stretch than I'm used to. Am I a little disappointed there wasn't a more consequential, Spidey-centric villain tackled in this flick? I'd be lying if I said I wasn't a tad underwhelmed in that regard. That being said, what we do get is unsurprisingly polished, effective and entertaining. I wasn't expecting to like this as much as I did by the time the credits rolled, but there's a lot to appreciate. The Spidey-focused elements are quite well-thought-out and even moving from time to time. Tom Holland really was born to play this character and the brilliance of his casting will never cease to blow my hair back. The fights and set pieces are as charming and fun as ever. Michael Giacchino's music, as always, is on point. Honestly, for what this actually was? This was really well done! Best Spider-Man movie to date, though? C'mon, son. C'mon.

Here we are again with yet another installment past what I thought was the the sell by date for this franchise, and here *I* am again apologizing for the shameless, naked corporatism because -- yet again -- we're given another meaningful (maybe even more so than the last one) worthy and emotionally resonant "Toy Story" sequel. Is it as good as "1," "2" or "3?" No, I still don't think so, but this has a place in the modern landscape of animated film that's nonetheless impressive. The musings on "devices" and "tech" when it comes to kids is unexpectedly nuanced, but what really struck me was the overall message on the human condition and what it means to make friends today. In my mind, that's where this movie excels. Everything else (the animation, the voice acting, the humor, etc.) is anywhere between pretty and very good. As for where we go from here, I'm sure there'll be a sixth one of these, I'm sure I'll see it and I'm sure I'll have similar feelings on it: quite good on its own merits, but do we really need to keep making these?

Just when you think a filmmaker's career has culminated in a trajectory-defining opus that nets them a Best Picture win, they go and make something even better and even more representative of everything they've been striving for as an auteur of our time. They also manage to somehow tap into whatever voodoo well Paul Thomas Anderson used during the filming of "One Battle After Another" to conjure up world events happening at the time of release that mirror their film's subject matter. Above all else, though, they pull off the impossible: an adaptation of one of humankind's oldest, most treasured stories that not only feels faithful to the text, but unafraid to improve upon it or recontextualize it for a modern audience. The kind of movie that'll make you shudder, laugh and cry, whose final act will make you want to run through the wall of the theater you're watching it in. I'm a simp for the guy, so it might not mean much coming from me, but, man lol all I can say is be as present as you can for this generational run you're seeing from this filmmaker. Years from now, our kids and grandkids are gonna wonder what it was like to have someone making movies like this one after another after another, seemingly without any sign of wear and tear. A triumph of the filmic medium and for the history of storytelling overall.

Again: profoundly late to the party here, but I'm a new parent, dawg, gimme a break lol. Yeah, so this rips. Not a hot take, no, but I'm just calling balls and strikes here. Knew Curry Barker was talented, but had no idea he had something like this in him. Also, I'm not sure if Focus/Blumhouse knew they were gonna have to put together a "For Your Consideration" campaign, but they better get started because dammit if Inde Navarette isn't award show-bound. Might be the best lead horror performance from an actress since. . .****, the last lead performance from a woman in a horror movie that got snubbed by the awards circuit (i.e. Toni Collette in "Hereditary," Florence Pugh in "Midsommar," etc.) Here's hoping "Obsession" can right that wrong because it sure does deserve to be there.

Finally got around to this one and my thoughts are not gonna break any ground here: this is really great. A little bump of triumph of the human spirit to take the edge off, sure, but honestly this is much more than some finger-in-the-air crowd-pleaser. There's a lot of sophisticated filmmaking going on here and Phil Lord and Chris Miller pull out all the visual stops. From using aspect ratio and image fidelity as framing devices, to the clever implementation of match cutting, the stunning lack of CGI and the brilliant puppeteer work, I never thought I'd look to the filmmakers behind "21 Jump Street" as the standard-bearers for the future of the medium, but here we are. Part-sci-fi, part-buddy movie, part-nonlinear disaster film, there were so many spinning plates and potentials pitfalls here, but everything was avoided extraordinarily well. Gosling is amazing and will probably (rightfully) garner awards attention for this. Not sure what else to say that already hasn't been said. Pure joy of a watch.

Nothing like watching Guillermo in his element. "Frankenstein" is everything I was hoping it'd be and more. It's the perfect amount of gnarly, murky and sad, with every set, costume and frame working overtime to make this feel like the platonic ideal of a "frankenstein" movie. But, this also has the audacity to try something different with the story structure that really enhances the experience. It's incredibly obvious how much the material means to this filmmaker and that's maybe the best compliment I can give this movie. Every performance is thoroughly pitch perfect, with Jacob Elordi's turn as the creature really packing an especially unanticipated wallop. Not too difficult for me to pound the gavel and call this the best adaptation of the novel since the Boris Karloff era, but this may be one of the best "monster" movies I've ever seen as well. Really, really had a fantastic time with this one.

Nobody show this to Terrence Malick lol. Also, where the hell did Clint Bentley come from, man? Sweet Jesus, it's one thing to make such an understated, yet soulful meditation on life and being, but to make it look this good? And, what is this? Dude's second feature? I'm at a molecular loss. Nearly every frame of this is so damn well-composed and pretty much all of it was filmed outdoors. I don't know how, but they managed to so neatly bottle up this majestic little corner of the world into such a beautiful package that I feel like it'd even make crew members from "The Revenant" lean forward in their chairs. Then, you have the melancholy, which is just enough without making things feel too maudlin, and the musings on existence, which are the right amount of unique without coming off as twee -- this is really, really good. Would've rocketed into my top 10 for '25 if I had seen the damn thing when it originally released.

The surprise of the year so far for me. What I thought was going to wind up being the most shameless "Heat" ripoff of all time actually ends up being an artful play on some of the dynamics in that movie, while also incorporating and even improving on some of the heist genre's conventions overall. What I think really sets this thing apart from the common rabble is two-fold: first, is Bart Layton's direction, which is the perfect balance between sure-handedness and having fun with the camera. Next, is the fact that you're literally watching a cast padded with six Academy Award alumni and featuring Chris Hemsworth as your leading man. This is about as capable **** as you're gonna find all year and that's not even close to an overstatement. No, this movie isn't anything "special." This isn't the most original crime thriller of all time. You've seen a version of many, many scenes from this movie before (a robbery gone wrong, a car chase, a "meeting of the minds" between the cop and the criminal, etc.) but none of what's depicted here is a "bad" version of any of those scenes in any, way, shape or form. In fact, I know of a few similar films that could've benefited from playing things as straight-laced as this one does. Overall, very, very solid. The absolute floor for what every heist movie should be and that's not at all meant as a dig.

MUCH, much different than the "Everything Everywhere All At Once" clone I was worried this would be, what sets "Good Luck, Have Fun, Don't Die" apart is its wicked penchant for indulging in the darker side of things -- something I should've assumed would be the case when I saw Gore Verbinski's name attached. There's also such a patent absurdity prevailing throughout that you really can't help but surrender to. Sort of felt like Terry Gilliam by way of Tim Burton at times. Sam Rockwell's nonchalant eccentricity fits about as well as you might expect, but the supporting pieces are also more than worthy of note here (namely Haley Lu Richardson and Juno Temple, who each put in some terrific work). Yes, things can meander a little bit too much into "weird for the sake of weird" territory for my tastes, but the social commentary still had me sat all the way throughout. Might also be a tad too long, but there are definitely worse worlds to overstay your welcome in. Great fun, this.

A solid, if understated mood piece on addressing and eventually coming to terms with decades of generational trauma, "Sentimenal Value" finds Joachim Trier pawing at some heart strings here and there, but the melodrama's not ultimately why we're doing all this. This is more of a thematic meditation than it is a histrionic display of any kind. Just so happens that I'm more partial to my Capra-esque displays of emotionality from time to time lol so this one maybe wasn't as impactful as it could've been for me personally. Now, one thing that's unquestionably sharp is the acting, with Renate Reinsve and Inga Ibsdotter Lilleaas's performances representing my favorite contributions in that regard, but that's not to say Stellan Skarsgård and Elle Fanning don't bring their A-game here either, with Skarsgård very likely capping off his illustrious career with an Academy Award for Best Supporting Actor here. Still, this is more of an awards contender that I appreciate rather than adore. Not to say I regret the watch, though.

Sam Raimi finally freed from the shackles of studio-centric intellectual property and the PG-13 rating: oh, how we've missed you. "Send Help" is like a breath of fresh air, filled with the exact kind of slaphappy, body-fluid-laced hilarity you've come to expect from the filmmaker in the past, but may not have gotten in quite some time. Rachel McAdams and Dylan O'Brien understood the assignment here too, with both actors very obviously having as much fun as possible bringing their respective characters to life from scene to scene. Terrific, heightened genre fun, filled with all the trademark Raimi camerawork that made the man famous to begin with. Yes, some sequences are subject to some less than stellar CGI, but in a way, it almost enhances the kind of throwback vibe the movie's going for. Be sure to enjoy this one in as packed of a house as you can find, because there are some real great moments within that'll sury whip a crowd into a froth of laughter and shock.

Some arresting imagery and noteworthy efforts to evoke the period here from director Kleber Mendonça Filho, his work "The Secret Agent" I think offering more to those with closer ties to the time and place in question than others. For the uninitiated, your post-screening ritual might look like a study session, feverishly researching why certain scenes (some, seemingly non-sequitur-like) are left in the film's hefty runtime and what the filmmaker might be saying with their inclusion. Still, Wagner Moura is a great through line for the audience to latch on to and the final act is thrilling as all hell to witness. I just wish I had a bit more of a connection/better familiarity with the subject matter before going in. Admittedly left me scratching my head in more than a few places.

Johannes Roberts finds himself back down the man vs. nature track with "Primate," a horror movie I probably should have trusted my gut on when I saw the trailers and TV spots lol. Not great, man. Good, creative gore, but to what end? There's basically nothing here in terms of a cast of characters. Nothing but archetypes: the obvious final girl, the dad, the sister, the friend, the crush, the **** one. Also, this chimpanzee get-up is too bulky, man, the head looks like a Spirit Halloween mask. The actor behind everything is doing a fine job, it's just so very clearly a costume is all. There's basically nothing given to the character of "Ben" either before the heel turn. One, maybe two scenes of "bonding" that really only just establish (and don't develop) a status quo. Lot of missed opportunities to using the sign language and soundboard to communicate with the characters throughout the runtime as well. Just disappointing overall.

Though technically a pre-Ghibli work, "Nausicaä of the Valley of the Wind" feels very much like a typical effort from the studio in question, albeit slightly lesser (for me, at least). The thematic underpinnings are there, but a little bit more heavy-handed than I'm used to when it comes to Miyazaki's stories. The visuals are — as always — terrific to look at, but I think the post-apocalyptic setting strips away an opportunity for true vibrance. It's also decidedly more violent than I was expecting. I know I'm nowhere near caught up in my Ghibli filmography viewing attempts, but I don't think I'm coloring outside the lines when I say that this might be the bloodiest thing Miyazaki's done to my knowledge. With that, though, there's still plenty of enjoyment to be had. The characters are likeable and well developed. The creativity is undeniable. I just think this was a very clear starting point for Miyazaki rather than the pinnacle of anything we know he's capable of.

Serious case of tonal whiplash aside, I'd say I mostly enjoyed Craig Brewer's "Song Sung Blue," a film that lulls you into this false sense of corniness and cliché before ripping the rug out from under you a few times, hitting you with some of the realest **** you've ever seen (depicted in a visceral way, to boot) and then going back to the dorkiness like nothing even happened. Really wild series of events, this. Makes me want to check out the documentary this was based on. Also, shout-out to Kate Hudson, an actor whose filmography I'm admittedly underexposed to, but who I also think very likely showcased the best work I've seen from her yet, in my opinion (whatever it's worth). Hugh Jackman, of course, brings the winsome charisma and loveability as well, but again, I was really surprised with the amount Kate Hudson was given to do in this. In fact, "surprising" is a word I'd use to describe most of this experience. Surprisingly moving at times, surprisingly intense at times, but overall surprisingly decent. Not bad.

This is why I go to the movies. For storytelling like this. I'm fresh out of this screening, so forgive me if everything is still very raw and unprocessed, but God almighty did this just feel right. The atmosphere, the performances, the anachronistic needle drops and -- my God -- just the scope of the entire journey here. So much happens and it all feels so important, like none of your time is wasted. The pace is everything you've come to expect from a film directed by anyone with the last name "Safdie," but it's even more than that. As much as I enjoy films like "Good Time" and "Uncut Gems," there's a level of cynicism that they ultimately engage in that I find hard to return to. This one, man. There's certainly darkness to be had and the titular character is not easy to root for, but by the end of it I was completely sold. It's less "triumph of the human spirit" and more "triumph of the human middle finger" lol, but I really wouldn't have it any other way. Terrific, terrific, terrific movie. Can't wait to go back to the theater, watch it again, then wait for it to come out on DVD, buy it and watch it again at home.

Paul Feig veers a bit harder into suspense territory this time with "The Housemaid," a seemingly by the numbers domestic thriller that actually has a few noteworthy surprises up its sleeve and some terrific performances from Amanda Seyfried and Brandon Sklenar. Granted, it's not perfect -- there's a short-changed character here, a couple of not-so-subtle foreshadowings there, there's a deus ex machina if you're really looking closely. Again, though, as far thrillers go, this one does the job just fine. There are even a couple of playful, little winks and elbows of humor from time to time, which is always a welcome element coming from the likes of Feig. I'm gonna venture a guess here (based on the fact that this is doing well enough and is adapted from a book with sequels) and say that they're probably gonna make another one of these and I dunno, man. Sure? I'd appreciate a bit more of a tongue-in-cheek-iness next time around considering the silliness implied by this film's conclusion, but the business is gonna do what it does. In the end, can't say I regret the watch at all. Not a bad time.

An impressive, if familiar, effort in "The Omen" saga, Arkasha Stevenson's "The First Omen" isn't looking to reinvent the wheel or even reinvent the circumstances of the 1976 horror classic. That doesn't mean boundaries aren't pushed here, though. In fact, there a few images one might not only classify as disturbing, but downright transgressive considering this was distributed by effing Disney. Nell Tiger Free delivers some decent horror protagonist lifts here and there, but outside of the horror conspiracy, you reckon there's not much to this person on the page. The whole tabula rasa/ingenue persona is unfortunately kind of baked into who this character is, so a lot of the scenes ultimately boil down to her reacting to messed up stuff happening around her. This is very similar to that movie "Immaculate" in both concept and execution. Pretty well-made. Fine lead performance. Gross imagery. Not "scary" in an explicit sense, but definitely horror. Not bad.

Don't let any of the "Oscar bait-y," "prestige drama" vibes dissuade you because, I gotta say -- the hype is real here. "Hamnet" is every bit as potent, meaningful and resonant as everyone's been saying, with one of the best final acts I've seen in a theater all year. We're dealing with a movie that is 100% greater than the sum of its proverbial parts, by the way. For maybe the first hour or so, you'll find it well-acted and beautifully staged, but perhaps enigmatic in terms of where it's taking you. Again, though, by the end of this thing, you'll very likely be watching with some version of a knot in your throat. My only gripe is as follows: it gets to a point with the amount of times Max Richter's "On The Nature Of Daylight" can be used in media before becoming a meme, man lol. It was great in "Arrival," also great in that one episode of "The Last Of Us," but, dude, you have Max Richter RIGHT THERE doing the score for the movie . Did you only ask him to score this thing so you could get his permission to use his "Sweet Child O' Mine" (so to speak)? Anyways, this is still terrific and if there's one sure thing this awards season, I'd say it's gonna be Jessie Buckley for Best Actress.

At their core, these "Knives Out" movies are really two things: they're whodunits, to be sure, yes, but they're also two-handers, with one hand being that of Daniel Craig's scene-stealing Southern sleuth and the other being some upstanding good egg who unfortunately gets caught up in things (Ana de Armas in "Knives Out" and Janelle Monáe in "Glass Onion," for example). This time around, it's Josh O'Connor, who turns in some really outstanding work here as a priest with a troubled past looking to do right by his trust in a higher calling. Props to this movie for delivering a very earnest and altruistic vision for what religion can be in today's society, without coming off as overly prude or Pure-Flix-y. When it comes to the mystery itself, I think the other two films were a bit more sophisticated in what they're trying to do, and a tad more enthralling as a result. That's not to say "Wake Up Dead Man" is uninteresting or a snore in any way, though. I just think things are a bit more message-centric this time around, rather than twist-focused. At the end of the day, this is yet another great installment of this franchise. Please do not stop making these.

Second Disney sequel I've seen in recent memory (the other being Pixar's "Inside Out 2") that I actually found more enjoyable than the first installment. There's just something cleaner and less icky about the metaphor this time around, with the writing actually touching upon some surprisingly pertinent and difficult topics here. This doesn't ultimately boil down to your boilerplate, after-school-special-y message about bigotry like the way the first one did. That's definitely a part of it, but there's way more to say about societal power dynamics and civics in general in this than I was expecting. Good stuff. I also really appreciated the commitment to exploring *way* more of Zootopia. This really feels like a globe-trotting adventure -- if you will -- in the way that I wanted the first one to. I also laughed a lot more in this than I can remember laughing in the first one. Shocked to say it, but they really knocked this one out of the park in my opinion. Well done.

Jon M. Chu's follow-up to his 2024 smash hit suffers from the same issues as its predecessor, just more pronounced. Who could've guessed that the logistical contortion needed in order for this to fit within the plot of "The Wizard Of Oz" would ultimately hamper a lot of the pacing and narrative viability of this sequel? Only everyone who saw "Wicked" the Broadway musical, a work known widely for having a first half that's far superior to its second. I don't wanna bag on this movie too much, because I really only feel slightly less impressed this time around. Everything that worked in "Part I" works again here: the music is good, the performers are giving their all, the production design is fantastic. It's just kind of a mess as a complement to the 1939 film, which I know fans of the musical will say you're not supposed consider a literal companion piece. Problem is, the material itself isn't doing itself any favors by constantly imposing the plot of that movie onto its own events. Again, this isn't awful or anything. Just kind of trying to do too much.

A so-so adaptation of Jim Carroll's acclaimed memoir, "The Basketball Diaries" finds Leonardo DiCaprio giving it his absolute all in a film that tries to have it both ways, scratching at some of the transgressive and challenging elements of the source material, while also attempting to maintain that pristine veneer of your typical, Hollywood anti-drug PSA. I also, weirdly, found the period elements to be basically nonexistent from this. This whole movie's supposed to take place during the 1960's and I just did not get that vibe at all from any of the locations and set-dressing employed throughout. This might be a piece that could truly benefit from another filmmaker coming around and taking a second crack at things. I think the story and voice are strong enough for that to be the case, at least. For now, we have this, which isn't terrible by any means. Just a bit played out and lacking in any kind of true depth, as a result.

It's lame, but you're not gonna be pulling your hair out, asking yourself, "why the hell did I even bother?" Like the first one (I skipped the second ), this is very breezy in its presentation, with little to no danger or threat of failure in store for the protagonistic forces at work. Cool to see Rosamund Pike having fun here, but this is ultimately just the first movie again when you boil everything down. A group of illusionists unravel a pretty underwhelming mystery, while trying to bring down some billionaire ****. Oh, and the third act twist is going to bring about a **** ton more questions than answers, the end. I'm sure these are fun to make and all, but I just never vibed with the idea that I'm watching a movie where, no matter what the situation, the good guys are going to win because they've already planned this whole thing out and are in God mode and it's all going to be okay in the end. Like, okay, then why am I watching this? I mean, I guess the movie makes a choice to divert from that formula at one point, but even that ends up getting bungled with a hastened pace and half-hearted treacle. So much so that I literally forgot about it until writing this. Again, it's not like this movie is poo or anything. Just not my thing, really.

Dan Trachtenberg triple-dips his chip into the world of "Predator" for yet another success, and probably the "cutest" entry in franchise to date. Now, make no mistake, even with the PG-13 rating, this is still a relentless, cold and punishing romp through unforgiving landscapes and plenty of gore. It also happens to have some winsome side characters and an unexpectedly heartfelt "found family" dynamic at its center -- not something I'd ever expect the first Yautja-centric installment to pull off, let alone employ at all. To fans of the prior films, the lighthearted tone here might come off as a bit out of place, but I was ultimately disarmed by it all once the credits rolled. Elle Fanning has a terrific time here with a fun set of dual roles and it's really cool to see "Alien" get referenced here again and with such careful hands this time around. Not sure how far they're willing to take that, but it definitely seems like more is coming in some form or another. As it stands now, this was a great time! Can't wait to see what this filmmaker does next.

Probably one of the most difficult feats to accomplish in all of cinema is the comedy sequel. There's so much bad that, honestly, to just be mediocre and then forgotten is a completely innocuous outcome. To make a sequel to one of the funniest movies of all time? I would not wish it on any man, woman or person. To try and recapture the magic of the original "Borat?" Why even try? Well, I gotta say — though, I'm late to the party on this one — I'm very happy I've finally seen this. I'm definitely gonna be in the camp that prefers the original to this one, but there's a ton to respect here. So much is attempted and to do that during one of the more tumultuous times in recent American memory? Very impressed. Maria Bakalova is nothing short of incredible in this, taking the potential Achilles heel of "and, introducing, XYZ-iconic-character's kid!" and turning it into one of the film's brightest spots. Would be lying if I said I wasn't curious to see how a third film would go, but I also understand the unsustainability/security-related risk of it all. They kind of flew as close to the sun as they could here without melting their proverbial wings. As it stands now, the duology at hand is beyond solid and this is easily one of the best comedy sequels we've seen in a long, long time.

For about 95% of "Bugonia," I was not only riding with it, I was identifying personally with some of the perceived thematic underpinnings. Being someone who's unfortunately lost loved ones to the annals of online conspiracy, I found a lot of this to be potent, engaging and among the best filmmaking you'll find this year. Then there's the other 5%. . .which isn't bad! Rather, it unfolds a facet of things that I guess I should've taken as a more serious possibility(?), but didn't. There's a sort of "game" that's given up here when it comes to the narrative that, while effective, ultimately recontextualizes everything you've just watched. I normally welcome such attempts -- and I'm not necessarily saying what comes about in this is unwelcome -- but I just so happen to really like everything that came before it the way it was. This is definitely gonna need another look-see from yours truly because, honestly, there's just so much good to process here. Jesse Plemons, Emma Stone and newcomer Aidan Delbis are all so good in this and the material at hand is so sophisticated. It's weird, but I shouldn't have expected anything less. Evocative stuff, as always, from Yorgos.

Yet another movie I've taken far too long to see, "The Cabin In The Woods" is one of those films I'm fairly certain I would've loved had I seen it when it came out. However, due to my dawdling, I've now had to live more than a decade in a post-Cabin-In-The-Woods world, where spoilers have permeated the landscape of filmic discourse. With that, a lot of the most impactful moments and reveals just didn't pack as much of a punch as I know they would've had I seen this in theaters back in 2011. Regardless of the timeframe of my finally watching it, there's just so much to appreciate about this as a masterfully executed reversal of horror cinema. You gotta love seeing filmmakers have such fun with a genre they so clearly love so much. Very, very fun. Very, very funny and I'm glad I've finally gotten around to watching it.

Even though it's pushing 100 years old, "Mutiny On The Bounty" still packs an anti-authoritarian punch, man. Thanks in no small part to Clark Gable's valiant portrayal of Fletcher Christian and Charles Laughton's equivalently impactful turn as all-time bastard Captain Bligh, the tensions are clear, the stakes are enthralling and the thematic throughlines are palpable. Even though some of this is decidedly embellished (for real, look into the historicity of what's depicted here and you'll quickly come away with a completely different perspective on things lol) the spirit of the film is clear and I can get behind the overall message. Also, on a side note, I know this is certainly not the *best* depiction of indigenous peoples, but I was honestly expecting a lot worse? Like, honestly, some of this is actually borderline progressive — undoubtedly so for the era of filmmaking in question here.

Not gonna be able to escape my own biases here, so I might as well address them head-on. Big fan of Chris Stuckmann's and I've been a follower of his for quite some time now. Seeing him fulfill his dream of being a filmmaker has been nothing short of a treat, to be sure, even if this freshman effort leaves a few things to be desired. In its finest moments, "Shelby Oaks" is an atmospheric spine-tingler, offering the audience sweeping establishing shots of the desolate American rust belt, leaving us all wondering what might be lurking in each shadow. It's when we're shown what's in those shadows -- that's when things are either gonna get a lot more or less interesting for you. I suspect I'm more in the former category, though I understand where those in the latter group are coming from. Once everything's said and done, the true nature of things wasn't entirely clear to me. I still had questions, but the general idea of the ending came across, if that makes sense. There are also a few immersion-breaking moments here and there, namely in the form of a few attempts at emulating local news reports, but nothing catastrophic. Overall, though, I was pretty impressed by this debut. Excited to see what else Chris has in him.

A very weird movie to watch through a present day lens (for many reasons lol). This almost feels like a "post-9/11" movie in "pre-9/11" movie clothing, if that makes any sense. Lotta flag-waving, lotta whitewashing of the past, lotta feel good jingoism, but at the same time this absolutely feels like it could have come out in the same decade as "Speed" and "Braveheart." At its core, "The Patriot" is an action epic. It's set against the backdrop of the Revolutionary War, sure, but this isn't really about getting the history right. 90% of the characters are composites/hybrids of actual historical figures so as to make the story as enthralling and as heightened as possible. I kinda miss when movies like this had a place. If this were released today, critics (myself included, honestly) would probably rip this thing to shreds saying how "dangerous" it is and how it's "not the movie we need right now." Instead, I find myself longing for the days when movies like this didn't matter as much as they do now. You could just turn your brain off and watch 90's Mel Gibson stab stuff with the American flag without having to think about. . .2000's Mel Gibson lol. Alas, none of that toothpaste can be put back in that tube, but it's fun to think about how much I would've loved this had I seen it when it originally came out. As it stands now, it's a pretty entertaining, if cheesy effort that remains one of Roland Emmerich's best.

A cute, well-intentioned little dramedy with a lot to say about the struggles of the American working class today and although some of the rhetoric may ring a bit hollow when coming from the multi-millionaires on the poster (especially when one of those individuals just received some of their aforementioned wealth from a noted human rights abusing government) I can at least respect the attempt at trying to say the right thing. Where the real rubber meets the road, however, is any and every scene involving Keanu Reeves angel "Gabriel." The casting of Reeves — who's already so well-known for his unique, otherworldly style of delivery — is such a masterstroke move here and every time he's onscreen it's an unmitigated joy to behold. Also, props to this movie for taking a played-out premise and exploring it in ways I wasn't necessarily expecting. I'd say most of it works well enough, ultimately amounting to a decent time at the theater.

Easily Paul Thomas Anderson's most exuberant, crowd-pleasing and accessible film since "Boogie Nights" and yet even with all the clamor I've heard and merriment I've seen. . .y'all still ended up underselling the Sean Penn performance lol. My God. I knew it'd be something to behold, but the character of "Steven J. Lockjaw" might be the most darkly mesermizing, most gallingly villainous character this side of Hans Landa and with just as much to say about the masculine/American/human condition. Gushing about Penn aside, the rest of the movie's also marvelous. A kinetic, rollicking, funny, yet deeply horrific adventure with some staggeringly prophetic subject matter and timing, it is most assuredly one of the year's best and my only complaint I will now feel bad for how much I enjoy listening to Christmas music lol.

Taut, potent and thematically relevant, Kibwe Tavares and Daniel Kaluuya's "The Kitchen" is less sci-fi, more speculative fiction, with about as much to say about the current moment as you can possibly imagine. To wit, it's actually an incredibly depressing watch lol and I'm nowhere near sure what I was expecting, given the subject matter. I'm not gonna get on my soapbox here too much, but make no mistake, we need more movies like this nowadays. The futuristic setting, the "action" — it's all window-dressing for a challenging story about uncomfortable truths in our world. Tremendous work here from Kane Robinson and newcomer Jedaiah Bannerman, both of whom have no small feat to accomplish in bringing to life the material they're both given here. Needless to say, though, their efforts are not in vain. Super interested to see where/when either/both of these filmmakers apply their directorial talents next.

Part attempt at a sports movie, part attempt at elevated horror, "Him" finds itself within the middle ground of. . .not doing either all that well, to be frank with you. Which is why it's so weird seeing Jordan Peele's name plastered all over this thing in lieu of co-writer/director Justin Tipping's. Like, I know you're trying to have this time make its money back and Peele's brand of horror is one that's been proven to sell, but this is undeniably subpar and well below the likes of that particular filmmaker's other works. Tyriq Withers and Marlon Wayans do what they can, but I suspect the material at hand might be a far cry from the script that once made the Blacklist back in 2022. Whether this was workshopped to death or hacked to death in the editing room, nothing here makes sense. Characters' motivations, reactions and attitudes don't feel sensible or even consistent. Also, what the hell is actually going on? I've seen this film and -- aside from one paltry reveal -- I don't feel like I know much more about the actual circumstances of what's afoot here than I did after watching the trailer the first time. There's never a name given to the face of the evil at work here and that's deeply unsatisfying. In fact, that's a pretty all-encompassing descriptor of "Him" overall: "unsatisfying." Maybe one of the bigger disappointments of the year, to boot.

Its heart was definitely in the right place at the time, but it just doesn't age all that well after forty years. That said, it's damn near impossible for a movie like this to do so and this may very well have been partly responsible for great strides made within and around the deaf community, so at least there's that. Also, you have Marlee Matlin's Academy-Award-winning work to behold here, so this isn't to be written off entirely in any regard. I just think things kind of hit the skids once we steer into William Hurt's character lamenting about how hard it is to date the deaf woman he's spent a quarter of the movie pining for. C'mon, man lol. I just think there was a better way to approach this kind of interaction without the able-bodied person coming off as whiny or spoiled (and this kind of thing doesn't even typically bother me in media, so you know it's a little over the top here). Still, I admire the attempt and the acting alone is undeniably worth the look.

If I had a nickel for every time a Francis Lawrence movie had to abdandon the canon ending of the source material it was based on in favor of the non-canon ending that the test audiences preferred, I'd have at least two nickels. This time around, though, I think he got it right, because "The Long Walk" is terrific, bold filmmaking, with some incredible acting and one of the more satisfying endings you'll find at the theater this year. Cooper Hoffman and David Jonsson continue to make themselves known as forces of their generation, sure, but there's really not a bad performance in the bunch here -- even, the bit parts have a lot to work with and every actor is pitch perfect all throughout. Also shout-out to Jeremiah Fraites for an unbelievably effective first go-around at scoring a movie. This one's definitely getting another listen on my next train ride. Thematically speaking, I won't get into too much detail, but, boy, did this movie scratch a certain itch, man lol. It's not very shy about its allegorical leanings, but that doesn't make it any less powerful. What begins and endures as a stress test on the audience's humanity and empathy, builds into a very, very welcomed catharsis. One I'm sure to remember for a while yet. Great stuff here.

If you're here for a clinical retelling of one American family's harrowing journey through a purported haunting, I'm not sure what you were expecting lol. If you're here for an intense, occasionally transgressive -- by the franchise's standards, at least -- send-off for one of the more memorable power couples in horror, however, you're much likelier in the right place. In a way, "The Conjuring: Last Rites" is one of the bolder entries in the franchise, a bifurcated two-hander between the Warrens and the tormented Smurl family for the first hour-and-a-half (it felt like) before finally joining the two together fairly late in the already-sizeable runtime. What can I say, though, man. Like with his predecessor, "The Conjuring: The Devil Made Me Do It," director Michael Chaves serves up an engrossing mystery that builds to a truly ridiculous, yet undeniably effective final act, historicity be damned. These aren't elevated horror by any stretch, but they're fun watches. I, for one, am gonna miss seeing the crazier and crazier attempts at stretching the realities of these alleged incidents.

A sweet, quaint, little slice-of-life tale of misfits coming of age in post-9/11 academia. In many ways, "Terri" acts as a kind of quintessential indie flick. "A young, misunderstood protagonist who can't seem to agree with his surroundings strikes up a series of unlikely friendships while dealing with a sick relative." C'mon, man, that has "quirky, IFC dramedy" written all over it. Still, this does the indie genre right in that it mitigates the typical pitfalls you'd expect in the execution (issues with likability/relatability and pacing are what can usually do me in). No, this movie actually holds the attention decently enough, has a huge heart and is pretty unequivocal in its moral leanings, championing empathy and finger-wagging at things we can all agree are morally wrong. Solid stuff here from Azazel Jacobs, who I've heard has only gotten even better in recent (similar) efforts.

Gotta say, I wasn't that all that excited to see the direction Darren Aronofsky was taking his brand of filmmaking. "A caper? What's the hell's so transgressive about this?" Well, the only transgression was my doubting the man, because not only is "Caught Stealing" a terrific, unpredictable crime story, it's also unafraid of putting its protagonist through the absolute wringer in order to build a tremendously pronounced sense of tension and dread that pervades the film's 107-minute (seriously, it's *that* short? This felt so much bigger than that and in such a fulfilling way) runtime. Aronofsky, of course, delivers the insanely polished staging and camerawork, elevating an already-gripping story into the realms of greatness, but you add in the commitment from this cast and some subtle 90's nostalgia and you're primed to be one of the better films of the year.

Evocative of both time and place above all else (to a fault, a lot of the time), "Black Orpheus" starts as a frenetic, slice of life piece before morphing into something much more to my liking: this weird, almost phantasmagorical acid trip in the second half, where things become much more expressionistic and even metaphorical in stature. I only wish the bulk of the movie adhered to this bleak aesthetic. I dunno, man, that shot of Orfeu and the janitor walking down those spiral steps made me feel some type of way about everything I'd watched up until that point. Not that all of it was bad or anything (in fact all the Chico scenes put quite a smile on my face), but once things take. . .a turn, we'll say. . .the movie starts firing on a whole different level of RPMs. As for some of the problematicism that's come about as of late regarding this movie? I honestly don't know where to start and I'm certainly not an authority on any of the cultures represented here. If there are legitimate grievances in play here, I'm not opposed to folks lending a more critical eye to the material here. That said, I'm still glad I watched.

While the idea for this absolutely kills on paper for me (an action movie that takes place in what's essentially the Wisconsin Dells? LFG), I think the execution leaves a lot to be desired. There are a few fun *moments* within set pieces, but none of them really came close to the numerous instances where I either laughed or audibly gasped during my first theater watch of this film's predecessor. That, and it honestly feels like the production and location teams kind of dropped the ball when it came to crafting a town that evokes something like the Dells, or even something close, like Branson or Pigeon Forge. What's constructed here ultimately feels like the fake town they build at the end of "Blazing Saddles" but with like a nondescript carnival/water park set up on the outskirts. Also, at a certain point, this just basically morphs into the first movie again -- to the point where we're taking entire concepts of set pieces and just swapping in different locations. Not trying to bag on this movie too much (for real, it's fine, the action is well-filmed and Bob Odenkirk is in prime likeable form, as ever) but I just feel like the ceiling for this was so much higher given how much of a surprise the first one was.

These movies may get sillier and sillier with each passing installment, but that doesn't make them any less watchable. This time around, it finds Ip Man tackling the likes of none other than a Cantonese-speaking Mike Tyson. if you can believe it. Or, at least, that's what the marketing and promos might have you believe. Surprisingly, at its heart, "Ip Man 3" is not just another unabashed effort at flag-waving. Instead, this is a rather pensive and almost quiet study of a difficult -- yet, admittedly dramatized -- period within the titular figure's life story. The fights are there and spectacular, of course (and who are we to expect anything less from that of Yuen Woo-ping), but when all's said and done, the most memorable moments I'll look back on in this movie involve Ip Man and his marriage. Oddly enough, I don't know if that's necessarily what I preferred in the end. Still, I suppose I'll stick around until these things finally jump the shark.

Disarmingly worth the watch! I gotta say, I was expecting the jaded critic in me to take over and thrash this poor movie to no end, but not today. "Freakier Friday" overcomes some unwieldy first act limitations and the occasional eye-roller gag with a final half-hour that I found genuinely affecting. Who would've thought there was more to do in the body-swapping family comedy subgenre? No, this isn't effing "Ordinary People" or anything like that (nor is it trying to be), but I mean, doesn't that kinda make successful efforts like this all the more impressive? Major props to the four leads for not phoning it in the way we've seen so many other casts of so many other "long-awaited" sequels do so. Julia Butters, in particular, does really spectacular work here and her career continues to be one to watch unfold. All in all, I can't say I had this one pegged as "for me" based on the marketing, but this was a pleasant surprise!