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.

Killers of the Flower Moon is a monumental achievement, a film that not only tells an important historical story but does so with a level of artistry that is rare in modern cinema. It is a film that demands to be seen, not just for its masterful performances and direction, but for the vital history it brings to light. Scorsese has once again proven why he is one of the greatest filmmakers of all time, delivering a film that will be remembered as one of the defining works of his illustrious career.

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.

Past Lives is a film that lingers in the mind long after the credits roll, a deeply affecting exploration of love, destiny, and the roads not taken. Directed by first-time filmmaker Celine Song, this modern romance tells the story of Nora (Greta Lee) and Hae Sung (Teo Yoo), childhood friends who are separated when Nora’s family emigrates from South Korea. Two decades later, they are reunited in New York for a week that forces them to confront the emotional complexity of their connection and the lives they’ve chosen.

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.

Heart of Stone, directed by Tom Harper, is an action thriller that seeks to carve out a space for itself in the crowded genre of espionage films, but despite its high-octane stunts and polished visuals, it ultimately falls short of leaving a lasting impression. Starring Gal Gadot as Rachel Stone, an intelligence operative tasked with protecting her organization’s most valuable—and dangerous—asset, the film has all the makings of a blockbuster on paper. Unfortunately, in practice, it’s weighed down by a formulaic script and a surprising lack of emotional depth.

Greta Gerwig’s Barbie is a bold, vibrant reimagining of the iconic doll, infused with sharp humor, insightful commentary, and a dazzling aesthetic that makes it as much a visual feast as it is a cultural critique. Starring Margot Robbie as the titular Barbie and Ryan Gosling as her ever-loyal Ken, the film delves into the complexities of identity, gender roles, and the influence of capitalism, all while keeping its tongue firmly in its cheek.

The Out-Laws is a largely forgettable comedy that squanders the potential of its talented cast with a weak script and uninspired direction. It’s fine for a bit of light entertainment, but don’t expect anything more than a few chuckles and a lot of missed opportunities. Netflix might benefit from focusing on quality over quantity, as films like this only serve to highlight the growing disparity between the two.

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.

Undoubtedly Fincher-lite, Damián Szifron’s horrendously titled new movie, To Catch a Killer, is a sometimes thrilling and unpredictable crime procedural with a lot on its mind.