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You either love Colleen Hoover or you hate her, and her novels, along with their film adaptations, are no exception. Regretting You is a somewhat saccharine experience, but it strikes just the right balance to become a very rewarding pastime.

Starring Allison Williams, Mckenna Grace, Dave Franco, and Mason Thames, this story follows Morgan, a young mother trying to prevent her 16-year-old daughter Clara from repeating her mistakes: getting pregnant and marrying too young, sacrificing her own dreams. The only semblance of calm in the complicated mother-daughter relationship is provided by Chris, Morgan's husband and Clara's father. However, that peace is shattered when a tragic and bizarre accident has devastating consequences. As she tries to rebuild her life, Morgan finds solace in the least expected person, while Clara grows closer to the one boy she's forbidden to see.

Regretting You has all the elements to be one of those films that leaves you with the raw emotion of love. This drama about betrayal and second chances is highly effective thanks to the dedication of its cast, especially its two female leads. Grace and Williams fully immerse themselves in their roles, revealing and overcoming the layers they conceal as the story unfolds.

A film that takes us down the path of easy tears, yes, but one that also has a touch of humor that makes it more charismatic. Thus, almost without realizing it, we find ourselves immersed in this melodrama, attentive to every decision its characters will make. It's the effect of a novelist who knows how to win over the viewer, and whose adaptations to the big screen are no exception. Efficient sentimentality, and well, I'll take it if, at the end of the ride, I've been entertained by what they've offered.

Josh Boone delivers consistently engaging direction, where the cinematography and excellent soundtrack are key to immersing us in this double love story. An effective, functional, and satisfying adaptation that will win over the genre's most devoted fans, but could also capture the attention of less frequent viewers.

A drama that is more interesting than it seems, with an effective cast, not outstanding, but one that gives its all and achieves an acceptable harmony between love, suffering and the need to satisfy our inclination towards melancholy and romanticism that we carry within us.

Netflix brings us a heist comedy with romantic touches for this holiday season, directed by Michael Fimognari.

Starring Olivia Holt and Connor Swindells, it tells the story of Sophia and Nick, two small-time thieves who plan to rob a London shopping center on Christmas Eve. However, their plan takes an unexpected turn when feelings begin to develop between them, complicating the situation.

Jingle Bell Heist is a British Christmas comedy with that subtle English humor and a touch of charming romance that combine to create an ideal film for a family weekend. It's an entertaining and fulfilling film, though it doesn't innovate and offers familiar elements, but these are enjoyable thanks, in large part, to the charisma of its lead actors.

It has a clear and motivating message, woven into an enjoyable heist film that subtly blends several genres, skillfully handled by its director. Although the plot feels somewhat sluggish at times, in the end one can be satisfied thanks to the well-developed and effective story at its core.

It's an ideal family pastime for those looking for simple and enjoyable Christmas movies. It doesn't offer much that's new, but if you immediately connect with the lead couple, who captivate with their heist romance, you can enjoy a pleasant time in front of the screen.

Chris Stuckmann, the famous film critic turned director, debuts with an interesting horror film that, at times, manages to captivate, although it ends up staying at an intermediate point in terms of its final result.

Starring Camille Sullivan and Sarah Durn, the story follows a woman who, after a documentary filmmaker uncovers a disturbing clue, embarks on a desperate search for her sister, who disappeared years ago. Her obsession grows as she suspects that the imaginary demon from her childhood may have been real.

Shelby Oaks is an interesting horror film, a noteworthy achievement in its director's debut. It skillfully blends its two worlds into a story with captivating moments, though it doesn't quite reach the full potential it seemed to promise. The director's ingenuity in crafting a compelling plot is commendable, even if certain plot threads need refinement to further elevate the film.

The combination of mockumentary and live action has an interesting touch, although I think the atmosphere it achieves in the first half of the film is so powerful that it leaves the feeling that this was the right approach. Even so, the film manages to maintain suspense and offers very intense moments of terror that are unsettling and create tension, which, for me, is a success when we enjoy the genre on screen.

Camille Sullivan's excellent performance stands out; she carries the entire film with her acting. The demon at the heart of the story is terrifying, and its mythology is fascinating, but we return to the initial problem: the film feels somewhat unfinished just as it seems to be reaching its full potential.

In conclusion...

An interesting debut for the critic in his transition to film director. He presents a film with much to say, but unfortunately it falls short. It's an enjoyable, if not entirely satisfying, pastime that makes it clear this new director has much to offer the world of cinema.