Christy Lemire

Once Carrey’s frenetic performances kick into gear, he gets to take this movie to incredibly strange places, ensuring that it will probably work for the adults in the audience as well as the little kids who dragged them there.

Particularly at a time when women’s rights are in jeopardy here in the United States and around the world, “Dirty Angels” represents a blown opportunity to say something meaningful amid the mayhem.

Being a mom is hard, a universal truism that "Nightbitch" explores in ways that are occasionally inspired but mostly blunt and banal.

The razzle-dazzle that's Jon M. Chu's bread and butter is on glorious display in "Wicked," the big-screen version of the beloved Broadway musical.

Weekend in Taipei is a B-movie straight out of the 1990s: a trashy, splashy, knowingly over-the-top action picture in the tradition of Luc Besson, which is fitting, given that Besson himself co-wrote the script with director George Huang.

In what may be his final film, nonagenarian auteur Clint Eastwood has crafted a solid, old-fashioned courtroom drama with “Juror #2.” Always known for his efficiency as a filmmaker, Eastwood brings that same brisk energy to this suspenseful piece of storytelling.

When it leans hard into the inherent absurdity of its wacky, mismatched buddy antics, “Venom: The Last Dance” can be a total blast. Unfortunately, that doesn’t happen nearly as often as it should.

Shrill, frantic, and hideous to look at, “Gracie & Pedro: Pets to the Rescue” isn’t just one of the worst animated movies of the year—it’s one of the worst movies of the year, period.

Somewhere along the road between Montreal and Mongolia, Namibia and Nepal, Egypt and Ecuador, “Blink” achieves a transcendent state of grace.

Part of what’s refreshing about “A Different Man,” though, is that it never condescends to Edward—never treats him as magical or noble, the way many films do in depicting characters with disabilities.

What Megan Park has done with “My Old Ass” is so authentic and thoroughly winning that she breathes new life into a familiar genre.

This sluggish tale of remorse and forgiveness mostly remains bland and distant, like the many generic aerial shots of Rome that it offers.

The Deliverance would have worked just fine if it had functioned solely as a domestic drama infused with the thorny, real-world issues of addiction, poverty and racism.

It’s an earnest, crowd-pleasing family film – nothing snarky or self-referential, no on-the-nose needle drops - just a sweet, beautifully made movie that earns the emotion it’ll surely draw from its viewers.

Cuckoo gets more confusing the more it explains itself. The further writer-director Tilman Singer goes in articulating the strange goings-on that drive this stylish, unsettling thriller, the less compelling it becomes.

Anyone who’s dealt with a teenager can relate to the baffling surliness that emerges out of nowhere — but like needless sequels, this, too, shall pass.

Tonally messy and overlong, director Greg Berlanti’s film ultimately squanders the considerable charms of its A-list stars, Scarlett Johansson and Channing Tatum, who are individually appealing but have zero chemistry with each other.

The style remains firmly in place – this time, it’s a lurid look at Los Angeles in the mid-1980s – but there’s nothing underneath it.

Breillat’s approach is technically intimate yet tonally detached -- languid as a summer’s day, sometimes unbearably so, and often uncomfortably warm.

Aïnouz rarely builds tension through these machinations; surprisingly, given what’s at stake, “Firebrand” is often a bit of a slog.

In directing her first feature, Contreras takes a straightforward approach to documenting the 2022 contest. She follows a handful of conductors from various points on the globe as they get ready for their big moment on the Paris stage. But within this traditional structure, she’s chosen her subjects well. They have a variety of experiences, personalities, and home lives that inform their art.

As a realistic portrayal of an all-consuming drive, it sticks the landing.

Young Woman and the Sea doesn’t reinvent the genre in any way, but it keeps us engrossed for every strenuous stroke.

Writer-director Frank Berry’s film never devolves into melodrama – if anything, it may be understated to a fault – but he grounds her plight in an authentic mixture of daily frustrations and sporadic joys.

Ethan Hawke attempts to breathe new life into the biopic structure with mixed results in “Wildcat.” What is certain is that he’s drawn a rich and multilayered performance from his daughter, Maya Hawke, in the starring role.

Unsung Hero could have used more of such emotional honesty. But it ultimately must deliver a broad uplift that’s palatable for the whole family, so it tends to skim the surface.

This is such a worthwhile story that we can’t look away, and Nélisse is so engaging that we don’t want to.

After deftly navigating a variety of tones, Rorhwacher places O’Connor’s Arthur at the center of a moment that’s truly surprising, and surprisingly poignant. In the process, with this film that feels suspended in time, she proves once again that she’s one of the most singular and artful filmmakers working today.