This documentary acts as a historical primer for those who aren’t experts on the life and times of Barbie and as a scathing look at Barbie’s impact on the psyche of children.

Home is a transient, liminal, and ever-changing place. Riceboy Sleeps is Shim’s way of creating an eternal version of the life he had with his mother.

Viking is a space oddity survival flick with its feet firmly planted on earth. The production design is a gorgeous blend of retro futurism that harkens back to the era of the space race.

I’m a coal miner’s granddaughter. My mom’s side of the family lives in a small town in southwestern Pennsylvania. The kind of small town with one stoplight and that exists because of King Coal.

Those who let the sensitivity of Plan 75 wash over them will walk out of the theatre and immediately call someone they love.

My Sailor My Love is not the first film to focus on a gruff old man’s ability to open himself up to love again. Up and Driveways are far more successful iterations of the genre that show the totality of what it means to learn and grow from the past. My Sailor My Love gets most of the way there, but cannot neatly tie the bow on its story.

For all of Chevalier’s possibilities, the end result cannot hold a candle to the man behind the violin.

Scream VI is livelier than most current popcorn horror flicks and creates enough goodwill that a new Scream (or two or three) will be embraced with open arms.

Creed III is not a complete knockout, but certain moments are. There are gut punches and there are swings and misses. Above all, though, Creed III is an exciting directorial debut for Jordan and a pure, powerhouse showcase for Majors.

God’s Time is a more-than-impressive debut for Antebi and the entire cast. The film has a magnetic presence that forces the audience to really pause and take everything in. It’s a cacophony of chaos, love, and hope.

Huesera is The Lost Daughter’s spooky sister and Rosemary’s Baby’s modern daughter. Motherhood, in Huesera, is a supernatural curse on Valeria. She’s bound by the parameters of this societal curse and she’s not alone. Huesera is stifling, angry, and a plea for change on a large scale.

Knock at the Cabin is middle-of-the-road fare for Shyamalan. It doesn’t reach his directorial heights, but is well above his lows. If nothing else, it’s still refreshing to see a director consistently swinging for the fences.

It’s not the sort of film that can be casually turned on at a sleepover, nor will it please every crowd. However, for those who allow themselves to exist in the world of Skinamarink, it will be impossible to shake. 

It’s difficult to define “family.” When you’re young, you think it’s all about blood relations, but it’s only as you grow older that you learn it’s about who shows up for you. When life is hard and you’re at your lowest, it’s who is standing there to keep you afloat. Silent Love answers those questions with its heart on its sleeve.

“What is a true story?” asks the opening title cards of Starring Jerry as Himself. It’s a valiant question to ask, and one that documentaries pose every time they put a subject in front of their camera and press record.

All of Back to the Wharf’s major plot points rely on a shared history between the two lead characters. There should be unbearable tension between Li Tang and Song Hao. Former friends whose lives could not be more different because of a decision that neither of them made fifteen years ago.

Human Resources is a bloody fight for the right to do more with life than merely clock in and out.

Despite its anger, Beautiful Beings remains deeply hopeful. The kids aren’t alright, but they were never given the space to be alright.

M3GAN is a safe play. It’s a little weird, but nothing truly off-putting, vague enough to appeal to a multitude of demographics.

Tár does not make heavy-handed accusations about the state of our society and people in power. Instead, it asks the audience to look at Lydia, to see her as the totality of who she is.