Double Barrel 

The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.

At 2:17 a.m., every child in a third-grade class wakes up, leaves their home, and disappears into the darkness—except one. The next day, teacher Justine Gandy discovers that Alex Lily is the only student left, while the rest have vanished without a trace. Did Justine have something to do with it, or is a far more sinister force stalking the town, targeting not just children, but anyone in its path?

The Resort has an excellent climax surrounded by disappointments. Somehow, at a mere 75 minutes, this movie still manages to be 70 minutes too long.

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.

Sailor Moon Crystal wisely makes the decision to adapt Season 4's Dream Arc into an epic anime movie where the Sailor Guardians shine brightest.

Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.