Christy Lemire

Holofcener finds both humor and wisdom within the complexity of her cringe comedy, providing rich fodder for conversations afterward. If anything, You Hurt My Feelings might be a little too short; it’s so well-paced and engrossing it just zips by.

In terms of underwater worlds, once you’ve been to Pandora, you can never go anywhere else. But the fictional Caribbean island where The Little Mermaid takes place is certainly a pleasant escape.

Yes, a mournful song is woven throughout, hence the title. But The Cow Who Sang a Song into the Future also requires great patience—it might be too slow of a slow burn—and there’s not much to her characters beyond a few barely sketched traits.

There are life lessons here to be learned and shared, for sure. But the film moves with such thrilling pacing it feels more like a celebration.

A Tourist’s Guide to Love is as harmless as its blandly forgettable title would suggest. It’s not quite a Movie to Fold Laundry To, because the scenery is quite lovely, so you’ll actually want to pay attention. But it is a pleasant escape if you’re seeking lazy Saturday afternoon viewing.

Harrison’s powerful performance and the chance to learn about this extraordinary artist make Chevalier more than worthwhile.

The material meant to beef up this story is so bland and underdeveloped it makes Renfield feel like a sketch concept stretched thin to feature length.

If you love movies about process, about people who are good at their jobs, then you’ll find yourself enthralled by the film’s many moments inside offices, conference rooms, and production labs.

French writer/director Léa Mysius concocts a compelling witch’s brew with The Five Devils, but the result doesn’t quite come together with the potency she’d desired.

A terrific cast can only do so much with superficial, maudlin material in the coming-of-age dramedy Wildflower.

You’d think a movie in which Adam Driver fights a bunch of dinosaurs couldn’t possibly be boring, but that’s exactly what 65 is.

Jordan has long since proven himself as an actor of terrific charisma, versatility and humanity; with Creed III, he shows he’s just as captivating on the other side of the lens.

While the suspense that had carried the film for the first two-thirds of its brisk running time dips as it nears its conclusion, Cocaine Bear still emerges as a hell of a high.

While Of an Age offers plenty of moody, melancholy atmosphere, it lacks the kind of characterization that would make this story truly devastating.

Nothing is compelling about these characters, and Bennett and Riley have little chemistry with each other playing them, even though they’re supposed to be estranged exes experiencing an unexpected spark.

Your Place or Mine begins in 2003, and it feels like the kind of superficially agreeable and instantly forgettable romantic comedy that came out around that time.

If the delightfully nutty “M3GAN” was a cautionary tale about the perils of relying too heavily on technology, “Missing” ends up being a celebration of its possibilities.

Director and co-writer Sarah Adina Smith offers some inspired moments and laughs here and there, but too often, running bits simply don’t pay off.

Puss in Boots: The Last Wish is as spry and light on its feet as its titular feline.

The Whale is an abhorrent film, but it also features excellent performances.

Indeed, the director of “99 Homes” and “The White Tiger” has proven a driving interest in telling stories that shine a light on injustice and cruelty. But here, the result suggests he’s dipping his toe into these enormous subjects rather than getting his arms around them in a smart and satisfying way.

The clever details, amusing name-drops, and precisely pointed digs at vapid celebrity culture keep Johnson’s movie zippy when it threatens to drag.

The Menu remains consistently dazzling as a feast for the eyes and ears.

Causeway ultimately may be a little too languid, too restrained, but there’s catharsis to be found in its quiet moments and fine-tuned performances.

You Resemble Me is at its strongest when it tries to humanize its misunderstood central figure in simple, intimate ways.

While it’s drenched in style and features performances from an eclectic cast of actors who are deeply committed to the bit, and its expressions of erotic desire can be quite steamy, director and co-writer Amanda Kramer’s film feels limited and grows tiresome rather quickly.

All of these potentially effective elements—as well as a stellar cast that includes Charlize Theron, Kerry Washington, and Michelle Yeoh—get swallowed up by the overwhelming reliance on CGI-infused action sequences. They’re both empty and endless, and too often leave you wondering what’s going on and why we should bother.

There are plenty of perfunctory jump scares as well as some especially cheesy visual effects. But there is exactly one inspired sight gag and one funny line of dialogue, so you have those to look forward to, should you land on The Curse of Bridge Hollow while absent-mindedly scrolling for timely holiday fare.