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.

Basically a less creative and less idiosyncratic Spy Kids produced by Jerry Bruckheimer (that might tell you something).

The real draw here is actually the photography by Oscar-winning cinematographer Philippe Rousselot.

Unpretentious, light, and amusing with a horror-action kick. Ultra violent, but does an enjoyable job of vampire-hunting and vampire-society worldbuilding.

A prequel to 2009's Orphan, but despite a plot twist that perks up the story a bit, it's pretty much more of the same.

It's fine...the plot is kinda clunky, but it's well cast.

Largely feels cut from the cloth of the neorealists...[a] compelling dramatization of the strain the American economy puts on the indebted class of gig workers, and the lengths people may find themselves going to in the face of dwindling options.

A musical for kids done very much in the style of Disney Channel Original Movies. A mixed bag, mostly harmless with impressive opening and climactic musical numbers.

This is really Dale Dickey's movie. A real sleeper made with a light touch and a warm heart.

This true story of a fraudster's been fictionalized into a victim-turned-avenger feminist triumph. It works due to the anti-chemistry of its two leads.

Three young women navigate sex, romance, and the fear of commitment, rejection and failure in this well-acted Sundance Film Festival prize winner about the tumultuous emotional impulses of young adulthood.

A successful nail biter and arm rest gripper. Good at building tension, built for maximum suspense, and it's very well filmed and composited.

A Stand By Me for girls, a kid detective story, a low key hang out movie spotlighting female friendship, and a slight but sweet requiem for childhood.

Painfully unfunny and devoid of insight, the magical realism is rushed and sloppy, and the emotional logic never coheres.

An animated action comedy with postmodern gags and which trusts the ability of kids to keep up with more winding plots and sophisticated jokes.

Lots of punniness in this scattershot and ambitious horror film, which depicts the horrors of gay conversion therapy as scarier and more horrific than the story's slasher elements.

Director Ron Howard and screenwriter William Nicholson do an excellent, bang-up job of adapting this complex story in to a feature film.

There's a glib amorality about this action farce but Pitt is funny as a philosophical self-help-reading dude-bro assassin.

While retaining requisite elements of blockbuster action cinema...decidedly shifts the focus to pulp fiction...The Batman feels more like a Batman story than a Batman movie, and that's an achievement in itself.

Addictive...traces that fine line between having hustle and being a hustler, a line we watch Holmes cross after being fed the exceptional stories of Silicon Valley disruptor culture.

What sets Operation Varsity Blues apart are its reenactments of wiretapped conversations. Using the wiretaps as scripts, actors like Modine...play out scenes that feel lifted, in their content and their staccato rhythms, right out of David Mamet.

[SPOILER-FREE:] Laugh-out-loud funny...transcends offensiveness by holding a mirror up to the very worst of human impulses, making us laugh at crimes against humanity not because the satirists don't care but precisely because they do.

A very sweet, very entertaining blend of whimsy and peril.

Has the benefit of relevance to the current news cycle, but it’s about something much larger even than the famous convicted felon who threw his weight around Hollywood.

As long as Faxon and Rash...stay in this pitch-black pocket of uncomfortable truth-telling, Downhill retains its power. But since this is an American comedy...

Practically dares its audience to make the mistake of taking it seriously, and yet it’s a bizarrely uplifting story of credibly tough women...survivors all, supporting each other to vanquish a sneering, preening abuser whose time’s up.

Contemplating any of this action-comedy camp in real-world terms...would be a maddening mistake. Accept Lowrey’s assessment that 'Violence is what we do,' or pick another movie.

Attempts to thread the needle of a moving anti-war film in that narrow space between...[war as] thrill ride and the filmic wizardry that, when examined too closely, rings as hollow as a war machine rapped with a wrench.

Aside from Gerwig's own comic and dramatic sensibilities (which never intrude on Alcott) and a stellar cast, her Little Women adopts a bold narrative approach to retelling Alcott’s two-volume story.