Chase Hutchinson

Some well-timed edits maximize the impact of the jokes and help leave necessary horror elements up to the imagination. Even when we don’t see everything, our minds fill in the gaps to make the gore and gags that befall Wes land.

Is it a bit baggy and less amusingly chaotic than past entries? Absolutely. However, Bell's return as this character is still grimly fun when he's given room to let loose. Even as time isn't always on his side, he makes the most of nearly every moment.

For every interview there is with a journalist offering more of this, there is one that just meanders with a notorious influencer that should have probably been cut.

While neither Tommy nor the film itself was ever likely to be immortal, the closing frames prove to be a fitting sendoff for him as well as his long, sad saga. For what could very well be the last time, he and Murphy burn bright.

Carter may remain quite lousy, but with Krumholtz at the helm, this film is anything but.

Even as Fuze is not a great film, let alone one that will be remembered as a classic new take on the genre, it’s an endlessly watchable one.

All you need to do is open your mind to its wonders and you may too discover something about yourself along the way.

Even with its many narrative flaws, The Silent Twins gives us an insight into not just the lives of the two sisters but the way they made sense of it through stories of their own.

In the end, “Rhythm Is A Dancer” remains a classic banger, but Pretty Lethal never finds any remotely memorable rhythms of its own.

Even with Fiennes and Chastain giving it their all in a manner that makes the story far more engaging than you would expect, they can’t carry it all on their own. The most ambitious and audacious performances in the world can’t overcome storytelling that is otherwise safe to the point of being timid.

Despite how transgressive and inventive Dalí was as an acclaimed artist, Dalíland is content to create a story that plays it all too safe.

While there are many promising pieces being assembled, with arresting visuals bolstered by the performances of Mescal and Barrera, any awe to be had in Carmen becomes dashed by its own emptiness.

Despite its title, it’s unable or unwilling to surrender itself to being more than just another celebrity documentary.

All you’re left with is the echo of what was better before. You watch only able to wish Weaving was given more to work with than this, or, at the very least, greater room for her iconic scream to rattle you once more.

It is a thriller that frequently flirts with becoming an out-and-out horror film only to never quite arrive there. The result is a middling work that is occasionally interesting, as we see how it attempts to strike a balance between these two distinct ideas. Regrettably, it ultimately can’t hold itself together when it counts.

Even as Reinhart does solid work with the shaky material, her character remains adrift in a meandering psychological thriller that offers only a superficial look into her psyche.

The performances are all giving the necessary punch even when the writing is not. It may frequently get lost in its own narrative woods, but Bana manages once again to bring it all back to humanity.

There is a winning buddy comedy deep inside The Accountant 2, but it’s buried under so much tedious meandering that it never gets to fully see the light of day.

Even without the questions about the veracity of the story, its rah-rah style makes it feel superficial rather than sweeping. In the end, Flamin’ Hot comes across as a selling of a story and a brand rather than a genuine retelling of one.

It succeeds about half the time, making for a split decision where Sweeney and Christy both emerge as champions while the film itself can’t quite go the distance.

If Howard and Sweeney can make movies together like this all the time, may neither of them ever stop.

While the title promises fire, the only riddle remaining is where the adventure it was searching for ended up disappearing to.

Rabbit Trap finds some occasionally effective moments of atmospheric dread and sadness, only to leave those moments stranded.

There are layers of complexity in both Wright’s performance and that of the late Williams which elevate the experience, making for a sturdy enough riff on the Western that still could have been so much more.

From a talented cast in Léa Seydoux, Louis Garrel, Vincent Lindon, and Raphaël Quenard to an initial willingness to be ruthless in tearing apart the messy art of moviemaking, it could have been something truly great. nstead, just when you think this movie about making movies is starting to get somewhere interesting, it reveals itself to be only a sporadically funny satire with a surprising lack of teeth.

For all the fun that the cast seems to be having with Dicks, it’s never as creative in execution as it needs to be. There are chuckles to be had, but the overall experience is defined by narrowness rather than naughtiness.

Not only is director Benjamin Brewer’s Arcadian a good Nicolas Cage movie, but it’s one of the most fun cinematic experiences that he has been a part of in recent memory. It's a work of horror worth taking seriously even as things go gloriously off the rails.

Even a lesser Kore-eda is still at least interesting, even frequently insightful, about the ways that we move through a world of pain and loss. It’s just a shame that, for a film that’s ultimately about the power of imagination and our ability to tell stories as a way of enduring, this one was unable to dream bigger.