Candice Frederick

None of its core characters, including the female protagonist (played by Florence Pugh, “Fighting With My Family”), make any rational decisions (while being too distant to care about anyway).

The Best of Enemies tries to remind us that simple solutions might exist if we could open our minds, but it undercuts itself by shortchanging its black female lead and ending on a very maudlin note that lacks punch.

Perhaps if 21 Bridges just settled on being a mildly entertaining single-night cop thriller, it could have gotten by on its well-shot action scenes and A-list cast. But once it introduces concepts it’s unable to fulfill, it becomes a massive disappointment.

Though it’s bolstered primarily by the charisma of Bale and Damon’s performances, the soulless yet thrilling Ford v Ferrari doesn’t provide much more than huffy banter, corporate rivalry, and an adrenaline rush. The real-life characters deserve more than that.

Black and Blue is chock-full of heart-pounding car chases and suspenseful moments that are certain to entertain mainstream audiences, but the film falters when it attempts, beyond its tittle to reflect a necessary and under-discussed conversation about societal issues.

As well intentioned as its flurry of feelings and sentimental performances are, “Berlin, I Love You” isn’t given the space or the format to truly sail. It fails to build on political landscape or culture and instead tries to pull on the heartstrings of its audience with half-baked concepts.

There are really two contending films inside Swallow that, if given the opportunity and the space to do so, could have been fascinating as separate entities.

It’s the most unproductive type of sociopolitical film, especially in today’s climate, in that it aims to incite but not to motivate.

Perhaps the worst thing a film can be, even more so than the binary of good or bad, is forgettable.

It’s absolutely grating to watch. Even worse, there’s not one humorous moment throughout its nearly 90-minute runtime.

Like a Boss is vibrant and sometimes funny, but rarely heartfelt and entirely stale. While it hits a few sentimental notes, the film’s failure to delve into the friendship it celebrates, or to say anything significant about women’s relationships in business, ultimately hampers it.

Because Graham fills This One’s for the Ladies with so many different dialogues that don’t always connect, he prevents it from offering concise, sociopolitical insight about race, class, and sexuality. As a result, the film comes off as pedestrian and ultimately has nothing really essential to say.

The film’s constant waltz between moods is aggravating at best. It becomes unclear whether we are even supposed to root for Rudolf, or if it matters that we do.

Lucy in the Sky becomes a strange experience that tries to force too many themes together at the detriment of its otherwise fascinating heroine.

Marshall-Green’s directorial debut is an intriguing story centered on a flawed protagonist, and with more polishing in the second half of the film it could have really sailed.

There’s no thrill, no visceral heartbreak, no fist-pumping revelation. This is just a guy telling you about himself, growing up, growing old, and navigating the Stones’ massive celebrity.