Godzilla x Kong: The New Empire roars onto screens as the highly-anticipated follow-up to its predecessor, Godzilla vs. Kong, promising an adrenaline-fueled spectacle of colossal proportions. Directed by Adam Wingard, known for his work in the horror genre, the film plunges viewers into a world where giant CGI titans reign supreme, dominating the landscape with their epic clashes.

The lack of a clear resolution or takeaway leaves the audience pondering the significance of the journey they've just witnessed. While I do have a soft spot for romcoms, Players might be a bit too soft, so to say the film may not leave a lasting impact or provide a memorable experience beyond the charm of its lead. Despite its shortcomings, the film offers a lighthearted and entertaining viewing experience for those seeking a classic romantic comedy.

Ultimately, Argylle is a disappointing effort from Matthew Vaughn, failing to live up to the high expectations set by his previous works. While there are moments of enjoyment to be found, particularly in the performances of Howard and Rockwell, they are overshadowed by the film's underdeveloped script and nonsensical twist ending.

Lover, Stalker, Killer is another Netflix must-watch for true crime enthusiasts and anyone fascinated by the dark side of online relationships. While it may not redefine the documentary genre, its well-crafted storytelling, expert interviews, and edge-of-your-seat editing make it a captivating exploration of a disturbing real-life saga.

The character-centric approach is a notable strength of They Called Him Mostly Harmless. Instead of merely presenting facts, the documentary delves into the lives and motivations of the individuals involved in the case, both the unidentified hiker and the online sleuths. This shift in focus transforms the film into a compelling character study, adding depth to the storytelling.

Love Me undeniably raises thought-provoking questions about the nature of love, consciousness, and the potential capabilities of artificial intelligence. Yet, the film's inability to transcend its own established boundaries ultimately hampers its impact. While the visual spectacle and the performances of the lead actors are commendable, the overall execution falls short of the lofty ambitions set by the directors.

Netflix’s latest American Nightmare is a riveting true crime docuseries that meticulously explores the chilling case of Denise Hutchkins' kidnapping and rape in 2015. The case, dubbed the "Gone Girl Case" by the media following the release of the film Gone Girl, unfolds with intensity and precision over three episodes.

Netflix’s latest release, Lift, is the latest action-packed thriller from director F. Gary Gray, attempts to take viewers on a high-flying heist adventure that promises excitement but ultimately hits too much turbulence and falls short of delivering a truly gripping experience.

The film's ability to paint a damning picture of our world's sociopolitical state while maintaining a focus on characters and story underscores its significance in the realm of speculative fiction.

As the mysteries deepen, so do the characters, creating a narrative tapestry that is as intricate as it is engaging.

It has been four years since Todd Haynes released a narrative feature (2019’s Dark Water), almost a decade since his last great film (2015’s Carol). This time Haynes partnered with Netflix for May December, a somewhat dark comedy, but mostly a character-driven, true crime-inspired drama.

Netflix’s Nyad is a cinematic venture that plunges into the depths of human tenacity, brought to the forefront by Annette Bening's stellar performance. As Diana Nyad, Bening masterfully captures the essence of resilience and courage, breathing life into the remarkable journey of the marathon swimmer. However, as the narrative unfolds, it becomes increasingly apparent that the film's structure, while commendable, may be better suited for the documentary format.

From its emergence in the pop culture canon in the late 70s to its satirical self-evaluation in the 90s to its current state in the 2020s, the slasher subgenre is beginning to reinvent itself again, most recently in the new Amazon Prime film, Totally Killer, which sees a subgenre mashup of slasher and time travel comedy.

Recently, there seems to have been an uptick in gritty B-movie procedurals that are an amalgamation of wannabe David Fincher techniques and crime drama tropes. In our current society, there is an ever-present space for crime films, be it true or fiction. Our culture’s affinity for the dark and twisted denotes a seemingly permanent space in the pop culture lexicon for this sort of film (see this year’s To Catch A Killer).

Since the release of his film Once in 2007, John Carney has established himself as an indie-directing staple, consistently weaving thematics of music with the human condition. Through his following films, Begin Again and Sing Street, as well as his work on the Amazon series Modern Love, inspired by the New York Times column, his comprehension of soul is consistently ever-present throughout his work. Carney’s latest, Flora and Son, is no exception.

There are a few laugh-out-loud moments throughout, but unfortunately, the film's laughs are bogged down by stilted dialogue, shoddy CGI, and lackluster forward momentum. It may do the trick for some dog lovers, but for most, this dog don’t hunt.

As a whole, Biosphere delves deep into unexpected places and ultimately offers up one of the best feats of bottle-cinema in recent memory. It’s a crime that this film will be horrendously underseen because Biosphere is undoubtedly one of the year's best films.

Madden tries, however, to bring the mundanity of what he is given to work with to life, as do Chopra-Jonas and Tucci. It is unfortunate that said material was already dead on arrival.

Through the modern lens of today’s culture, many film and television classics from past decades are getting the revisionist treatment. This time around, Paramount + is ditching the familiar film format and offering a series take on the 1987 Glenn Close-starring Fatal Attraction.

Beau may be afraid, but not as afraid as I am to try and create a coherent review for this 3-hour surrealist anxiety attack, simply named Beau Is Afraid.