Pieter Verelst: Amai 

Essentially 'Get Out' but for white women, 'Don't Worry Darling' has strong material with its twist reveal, but the writing and directing falter trying to execute it.

So do I recommend that people see this movie, yes 100%, but do I think they are going to come out of it with 80 hot takes, yes 100%.

Overall, “Dark Fate” is a run-of-the-mill flick. Together, Reyes and Davis have excellent chemistry, but their characters’ story is nothing new, lacking surprise and deep emotion. During the middle points, the film drags considerably, and when the action hits, it feels consistently tight, eliminating the rhythm and fluidity of conflicts.

The Vietnamese perspective is not only completely ignored in 'The Greatest Beer Run Ever', but it is blatantly whitewashed and disrespected. 

With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.

Movies also have the ability to make the audience think deeper about an issue that plagues society. "Blindspotting" does that without shying away from the intense reality of police brutality and racial discrimination.