Brian Tallerico

The various praiseworthy elements of The Devil All the Time ultimately override the feeling that they aren’t quite cohering into a great movie overall.

Textured in ways that family entertainment is rarely allowed to be and even more visually ambitious that the other Cartoon Saloon films, this is a special movie.

From the beginning of Ammonite, writer/director Francis Lee trusts his lead performer to convey an incredible amount without dialogue. And that trust pays off in one of the best performances of Kate Winslet’s career.

A movie that finds poetry in the story of a seemingly average woman. It is a gorgeous film that’s alternately dreamlike in the way it captures the beauty of this country and grounded in its story about the kind of person we don’t usually see in movies. I love everything about it.

No one expects The Babysitter: Killer Queen to be anything other than your basic escapist entertainment, but it fails even at this modest goal. It's a defiantly stupid movie, with references so bizarrely dated that it verges on fascinating.

David Byrne’s American Utopia is a joyous expression of art, empathy, and compassion.

The trip to a remote farmhouse is just the narrative skeleton on which Kaufman hangs arguably his most challenging film to date, a piece that verges on Lynchian in its surreal register, moving back and forth between reality and a dreamlike commentary on connection, although there may be even less of the former than it first appears.

Worst of all, the pacing here is just off, leading to a film that drags even at 90 minutes. If the cold doesn’t kill you, the boredom will.

It is a remarkably likable comedy about two good guys still trying to find their place in the world that’s anchored by genuinely sweet beliefs about the importance of friendship, honesty, and, most of all, music. Be excellent to each other, dudes. It still matters.

If Tenet can be a hard movie to engage with emotionally or even comprehend narratively, that doesn't take away from its craftsmanship on a technical level. It’s an impressive film simply to experience, bombarding the viewer with bombastic sound design and gorgeous widescreen cinematography by Hoyte van Hoytema.

While it’s undeniably a sophomore slump in this franchise, Yeon’s skill with action keeps it from dipping too far that we should give up hope he can find the track again in another installment.

A depressing, cynical slice of nihilism, a movie that thinks it’s saying something about gratuitous violence and exploitation of real tragedy but is even more hypocritically hollow than the films it purports to criticize.

In terms of both actual storytelling and subtext, there’s so much that the creators of Project Power could have done, but they chose the path of least resistance, turning a story of reclaimed control and buried human strength into a dull action movie that only gets by on the charisma of its stars and speediness of its filmmaking. It’s almost like they were afraid to unleash the power within their own project.

Diaz displays a remarkable skill with editing hours of footage about a complex issue into a tight piece of non-fiction filmmaking that makes its point often merely by bearing witness to history being made in the Philippines.

Black Water: Abyss is one of those movies that isn’t particularly good but may not have to be if you’re in the right mood.

Once you get past the horrifically casual racist stereotypes, non-existent character depth, incoherent plotting, clichéd dialogue, and baffling editing, what’s perhaps most insulting is how numbingly boring the whole affair ended up. If you’re going to make a movie this lazily, at least try to make it fun!

If anything, there’s something more to the “peace” that these men repeatedly say they found on the water. Peace may be harder to find this summer than we could have ever imagined, but it’s still a primal human need.

Every time it feels like Komasa and Pacewicz edge too close to sympathy for their modern monster, Tomasz does something that reveals those feelings to be unearned and undesired by the filmmakers. And it’s that give and take that makes The Hater interesting.

There’s a claustrophobic cause-and-effect in The Rental that keeps it humming, and feels fresh. The minute that two characters make a crucial decision, you know it’s all downhill from there.

Greyhound starts to become numbing in its tactics, a film that’s simplicity feels more shallow than lean. And, yes, there is a difference.

After a slightly rocky first act that succumbs to thin generational differences, Brown allows his slow burn to catch fire and doesn’t look back. You may be regretting not being able to visit the beach this summer. Maybe it’s for the best.

Fans of Herzog — and that really should be all of you — should seek it out.

While dozens of movies have sought to recreate the unimaginable horror of literally fighting your life, The Outpost connects more than most, thanks in large part to Lurie’s technical skill and a young cast that elevates what could have been overly familiar material. In particular, Scott Eastwood and Caleb Landry Jones do the best work of their respective careers.

Sweetly goofy and joyous.

One can see the craftsmanship and skill with actors that Assayas has honed for the last three decades in the film’s best moments, even if it adds up to something of a disappointment when compared to the majority of his filmography.

In the end, it feels more like a cheap trick than a study in filmmaking restrictions or an actor's showcase. Worst of all, it’s always reminding the viewer of its construction, relying on shaky camerawork to produce tension but failing to do so, and almost defiant in its lack of actual characters.

Everything here feels timid and toothless, lacking in true atmosphere or genuine scares.