Asher Luberto

In a world where the clouds are puffy, the script is fluffy and the funk is funky, it’s easy to stomach all the glitter a second time around. If you do decide to rent this via VOD, now that DreamWorks Animation has broken the theatrical window, you will likely be in harmony with kaleidoscopic visuals, not to mention a bunch of greatest hits the whole family can enjoy.

Emphasizing Selah’s discovery that cliques are kinda dumb and that her actions have consequences, Selah and the Spades loses momentum, despite a witty framing device that places characters as tiny figures in the school’s vast, empty rooms.

Chalk this Team WahlBerg’s latest collaboration as a massive swing and miss, which ranks among the city’s worst cinematic disasters.

A movie about deep regrets, taking them head-on, forgiving oneself and more, The Way Back, on paper, has so much potential for clichés about demons in a bottle. Instead, and triumphantly earned, this affecting path to redemption is a piercing portrait of man and actor who, when the clock’s winding down, can drain the shot that matters most.

The horror genre also comes with a short list of demands that must be followed: Build a tense mood, a terrifying atmosphere, and tumultuous characters. “The Boy 2” rejects all of these. Instead, director William Brent Bell settles for a basement full of cliches.

Sonic the Hedgehog might nail the outrageous energy and outlandish hyperactivity of the video game, but it’s the effective and poignant force of friendship that truly powers this video game adaptation to level’d up triumph.

Ultimately, no amount of champagne, pretty faces, and New York real estate porn can turn dull lovers and a dramatic lack of focus into a pretty picture, and this is the reality The Photograph captures in the end.

While The Sonata has no shortage of gripping moments, it’s still missing the weirdness and stylishness that made the similarly themed “Rosemary’s Baby” or “The Frantic” classics.

It’s a dull, plodding retread with new souped-up VFX that’s deeply uninvolving.

Despite a script that’s as obvious as a treasure map, Low Tide works because of its leads. The four actors have never been better.

Auggie is at its best when Felix is vulnerable. The same goes for the actor playing Felix. Kind hasn’t been this good since A Serious Man.

Bell is as hilarious as ever. But she also emotes great empathy. Those smiles and tears are genuine. Fittingly, she’s given all of us going through the same thing what we have been looking for: a step in the right direction.

There are enough subplots to fill every room in the estate, but none of these stories are fleshed out.