[Spoiler-free review:] For all its flaws, The Flash proves strong on character where it counts as it serves up its MCU-style comedy, tragedy, and wow-factor visuals...In the final equation, the Scarlet Speedster gi 
Offers too much sensational spectacle, melodrama, and high-stakes sci-fi adventure ever to bore its audience, but its echoes of exhausted blockbuster tropes ring hollow. 
A political movie of religious intrigue, well-acted and directed with a good script and great visual appeal. 
A tightrope act to have a conversation about race when your priority is to get laughs. Great cast, but by its climax you feel like the movie's the hammer and you're the nail. 
History on film. Well edited, bleak...vital journalism. 
Charmingly and frighteningly nostalgic, touching on feminist social satire. 
Tonally shifty, overlong, repetitive and as history simplistic, but well-made and an interesting effort to reach across the aisle from the socially liberal to the socially conservative. 
A deliberately paced, bleak, and unsettling morality play that never really gets much traction, spins its heels, and ultimately fails to find a way to make its material interesting. 
Not as hardcore as the in-your-face, bloody, gory, sweaty, dirty, puss-y, oozing, festering, nightmarish 1987 original, but still honors Clive Barker's concept with a stronger, more-interested-in-world-building narrative. 
Pretty low-key but enjoyable enough medieval coming-of-age comedy boasts a cheeky, naughty sense of humor and a period story complicated by class and the limited mobility of gender. 
A sci-fi romantic light comedy anchored by two charming lead performances which is less interested in laughs than it is in presenting an allegory of damaged people trying to hold on to love and happiness. 
Marginally improved...and Midler, Parker and Najimy still play their characters with the hammy gusto of 1966 Batman villains. 
If you love movies, you definitely want to be in this discussion. 
A spirited, meta, frothy and amusingly arch mystery comedy for theater nerds with a snappy script and a smashing cast. 
Effective in its refusal to spell out diagnoses or adopt a specific analytic take. Instead, it invites interpretation. 
A dark, timely and endlessly fascinating mood piece. Thandiwe Newton is perfection in a deep-dive character study that explores several interesting triangular conflicts. 
Perhaps the definitive documentary on Sidney Poitier, touching upon his cultural significance and challenging position as a transitional and transformative cultural figure. 
A highly interesting document of a pretty potent story told in its entirety. 
A mixed bag, but there are definitely moments where the performances, direction and photography sync up for an effectively moody atmosphere. 
Bold, indulgent, polarizing, poetic, rapturous and artfully made but also an epic-length torment, like the secular The Passion Of The Christ. 
The diffuse storytelling somewhat dilutes the film's themes but Viola Davis, a Terence Blanchard score and an inherently interesting milieu are all good reasons to see it. 
A triumphant re-thinking of the Fletch franchise with a flat-out great script, confident direction and a stand-out star performance. 
The weakest of the three. It fails at taking its own emotional logic that seriously; the drama is embarrassingly schmaltzy and the humor hacky. Feels like a parody of itself. 
A melancholic and poetic queer romance that teases out some interesting ambiguities about the nature of the story's relationship. 
There's an overabundance of unnecessary concessions to modern taste in this effects-driven, CGI-animated remake, but it moves along pretty nicely—and they haven't broken it. 
Lightweight, flimsy and sitcomedic in the style of The Office, but its cast of funny people being funny is enough for a recommendation. 
Hugh Bonneville as a posh but psychotic killer with serious daddy issues. So-so script but enjoyable enough as a pulse-pounding thriller. 
Ozon's gender reversal of Fassbinder's The Bitter Tears of Petra Von Kant straddles camp, but it's colorful and makes a bit more of the obsessive relationship between artist & muse. 
Well shot, but it doesn’t really go anywhere interesting—a wafer-thin plot, simplistic, and repetitive. It’s all theatrics and no theater. 
A lot of this feels a bit like therapy in front of the camera, but the subject matter is so compelling that, if approached from an emotional rather than intellectual standpoint, it definitely holds one’s interest. 
Comes on like an old Hammer horror picture, but then becomes full of old-hat psychological horror theatrics lacking a single original or interesting idea or performance. 
A very strange mix of family sitcom and R-rated bro-down buddy comedy. A witless string of dumb comic set pieces and an unfunny slog. 
A tense and compelling World War II thriller and a leisurely shoot-‘em-up made all the more unsettling by its deliberate pace, interesting ideas and timely sociopolitical parallels. 
Highsmith's prose, alternately earthy and soaring, best reveals the breadth of her personality, but the perspectives of her lovers humanize her to a more relatable degree... 
Worth seeing through to the bitter end...finds its soul when Ebo allows the satire to curdle into tragedy and the very real pain of its characters. 
The picture's 'soul'...is kindred to the anarchic underground comics its characters worship and long to create...Appropriately for a film about an 18-year-old, Funny Pages invites optimism and discomfort into a cold embrace. 
Serves as a low-key character study and an actor’s showcase for John Boyega. 
To put it simply, The Last Journey has enjoyable trappings but doesn't amount to much. 
In the efficient and consistently engrossing 84 minutes of The Territory...Alex Pritz illuminates the terrible plight of Brazil's Indigenous Uru-eu-wau-wau people, a worrisome situation with implications for all of humanity. 
An endangered species—an indie comedy with an original idea, which arrives at an extremely funny comic climax. Great Pino Donaggio score. 