Graeme Guttmann

What A Love Song lacks in execution it more than makes up for in stellar performances and beautifully directed scenes.

The narrative of Monica is scant, but this makes way for a poignant examination of trans identity and loneliness through the lens of one family.

It never digs deep enough which, when looked at through the fairy tale lens, is appropriate, but ultimately seems like a missed opportunity for the film.

Hiding within Stars at Noon is a lean erotic thriller, one where the lack of chemistry between Alwyn and Qualley can be overlooked both because of Denis' directing and the standalone performances of its cast. Unfortunately, the film gets bogged down by pacing issues, hoping to coast on the chemistry of Qualley and Alwyn, but runs out of gas long before danger starts to creep in just past the hour mark.

There are great moments in the quiet of Treasure, the scenes where director Julia von Heinz's camera lingers on a look, an item, or a landscape. But Treasure finds itself stuck in the middle of these tender moments and a heavy-handed way with emotion that has good intentions but doesn't land the same.

There's something comforting about the way in which My Fake Boyfriend doesn't try to reinvent the wheel. It's content living in its charming version of New York where everything works out in the end.

It's a riveting film, but one that left me feeling hollow and ultimately frustrated with the continued way in which much of American cinema tackles crises like the one at the center of September 5.

There are a few bright spots in Rise of the Beasts, but these are largely overshadowed by a lot of generic parts that would not be out of place in any of the previous six Transformers movies.

Unfortunately, Reminders of Him isn't a very good film, at least in the traditional sense. But, like Regretting You, there's a certain level of lizard brain enjoyment that transcends much of the film's flaws and allows for all the soapy, melodramatic elements to be enjoyed at their own level.

Margot knows the dangers of social media – her backstory has shades of cliché, but it's still effective in pushing her down the rabbit hole that her coworkers' superficiality precludes them from exploring. That investigation involves a string of missing persons and a killer obsessed with the dark corners of the internet. The biggest issue with Faces of Death, though, is that it's just not all that dark down there.

Little Death is two vignettes — one more compelling than the other – that only loosely come together.

Tetris is a serviceable adaptation, but for all its visual flair and 80s nostalgia, there's still something missing when all the pieces come together.

While Schrader's directing and the casts' performances are more than up to standard, Master Gardener somehow ends up being less than the sum of its parts.

Despite finding a sweet spot, The Shallow Tale of a Writer Who Decided to Write About a Serial Killer falters as a whole. Buscemi, Magaro, and Lower give great performances, but it does little to fill in the gaps of the story.

The beauty of a musical isn't just in the songs themselves, but the feelings they leave us with as we exit the theater. Leave One Day opts for a cheerier disposition that undermines staying power beyond its infectious tunes.

As a piece of horror, the film is certainly effective, achieving a kind of discomforting aura that is sometimes missing from the too-polished genre fare released all-too-frequently.

It's full of fast-talking tech nerds and morally compromised corporate A-holes, it bites off a bit more than it can chew in telling the story of Research in Motion, but it's still a good time, reminiscent of mid-budget dramedies that have all but disappeared in recent years.

Unfortunately, Run Rabbit Run is less than the sum of its parts, and even an excellent turn from Sarah Snook can't elevate the movie beyond its basest instincts.

Its best moments aren't in the octagon — they're in the quiet moments when Johnson's Kerr is talking to an interviewer backstage or when Dawn and Mark are exchanging barbs in between affections in their cozy Arizona home.

In the end, Samaritan commits a cardinal sin of the superhero genre: It thinks a high-profile actor with vaguely defined superpowers is enough to make the film interesting when it clearly needs something more.

It needed something to make it feel fresh beyond dazzling visuals, but by stripping away much of what made the first film great, Pinocchio feels like the same old story, even if its fantastical elements shine onscreen.

As much as it tries to be a mash-up of several genres, it would've been much better had it picked one lane and leaned into it.

With predictable twists and one grating character, the Lionsgate movie tries to do something different from others like it, but it can't quite reach the heights that its main characters aren't (and should be) afraid of.

Shell is funny and nice to look at it, but it lacks the depth or the darkness that it needs.

Just when it feels like it's going to hit the gas, The Wizard of the Kremlin holds back, all the way up to its confounding, out-of-left-field ending that is both abrupt and fittingly bleak.

The script is caught between wanting to be a full-blown horror movie and wanting to be a tense psychological thriller.

By the time the film turns off autopilot, it's far too late, and the ending lands with the dull thud of a long-rotted body wrapped in an old rug.