Andrew Bundy

Unfortunately, Halle Berry’s Bruised is a grueling hybrid of your weak, everyday Sundance debut and TV sports movie.

Not so surprisingly, it’s a movie made by theatre geeks, for theatre geeks, though feasibly to a severe fault. In other words: if you know the songs and faces on screen, you’re bound to enjoy it infinitely more than a casual movie-goer will.

Slow and stagnant despite the ongoing swirl and fleeting natural style, Riggs film ignores any firm story promise in favor of establishing almost solely character and circumstance, resulting in a sincere lack of basic plot progression, eventually leading to an unbelievably unsatisfying pay-off that made this writer throw his hands up in rage (ironically enough).

The narrative provides enough thoughtful laughs that fans of politically-tinged genre fare featuring phallic fire totems should chuckle enough and have fun.

If nothing else, Drunk Bus succeeds in capturing that period of juvenile transition, like many of the Apatow-era late 2000s comedies did.

Huge fans of the performer will likely shed tears at few parts throughout, but there’s nothing especially unique or particularly thought-provoking about first-time director Tylor Norwood‘s filmmaking approach to make his documentary stand out.

As an embodiment of existential anxiety, it’s often effective, but other than stunning composition work and a few blips of vibrant harmony, it’s largely empty as a romance.

Tonally confusing ... For all its strange and specific flavor, "Clifton Hill" is too tame and tepid to truly work as weird noir.

Overall, despite a few profound explosions of emotion, the remake is more tonally overbearing than it is dramatically rewarding.

Tolkien is an unfortunately typical biopic riddled with obvious influences and ham-fisted thematic hypocrisy, but it is effective in capturing the moral consequences key to the humanity of Tolkien’s masterpiece.

Cousins’ new doc will undoubtedly be essential viewing for a sea of cinephiles, but it might not easily capture the attention of audiences less familiar with Welles’ legacy.