"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."