Gregory Ellwood

As a filmmaker, Walker-Silverman’s talents are letting a narrative unfold without pretense or melodrama. When the events are this powerful you don’t need to ratchet up the stakes.

Despite a talented cast, the comedic aspect of the movie is tepid at best. Outside of Ariel’s character (Edebiri saves a lot of it), the jokes are obvious and predictable. Moreover, Ariel is the only well-rounded character in the movie despite, maybe, the ego-driven Moretti.

These recollections might be captivating on paper, but they become somewhat monotonous and uninteresting on screen.

Along with some truly breathtaking visuals, the pint-size Ochi is the best part of Saxon’s long-in-the-works opus.

At its heart, Twinless is a movie about loneliness. About finding someone to fill that emptiness, soothing life’s inherent anxiety. Whether a lover or a friend, they are often hard to find.

What keeps “Jimpa” from collapsing on itself is Colman’s steady turn (don’t forget, she’s so talented she was the only compelling aspect of Marvel Studios’ disastrous “Secret Invasion”) and Matthew Chuang’s wonderfully lush cinematography.

Bornstein has fashioned a cinematic anxiety-fueled experience whether you can relate to having children or not.

The result, as hinted earlier, is a high-end B-movie that would have been in heavy rotation on cable television’s TNT or USA Network as a wallpaper movie in the ’00s. And there is something genuinely fun about filmmakers wanting to dip their toes back into those waters. But, for that genre to work, it needs to be less bloated than this and, more importantly, not end by teasing a sequel.

Too much of Moana 2 is simply far too familiar to make it anything more than a convenient escape.

Despite a few too many storylines and Wilson’s comedic indulgence, the musical numbers are often inspired and pack a punch. Wilson proves she can direct the musical aspect of the movie, at least. And, boy, these Aussie kids, er, legal age twentysomething adults can sing.

If there is any saving grace to “Horses,” beyond Luc Montpellier‘s often painterly cinematography and Jeriana San Juan‘s superb costume design, is its commitment to chronicling this era of hidden queer love.

Ultimately, the biggest disappointment with “Relay” isn’t the big twist, you see that coming a mile away. The issue is the execution of everything thereafter is almost comical.

Ellis ratches up the intensity to an almost stomach-turning level. It’s partially the filmmaking. It’s also the recognition of how dangerous this mortality game has become.

While the musical elements often take the movie to impressive artistic heights, it’s not just the storyline that ends up hindering Better Man.

Sure, Vikander and Olsen are superb as Mia has to constantly stop herself from wringing Virginia’s neck, but the whole endeavor increasingly feels flat.

The result is a melodrama where any sense of tension fades the longer Nina and Tito speak.

Malcolm Washington, Denzel’s youngest son, has his own secret weapons to assist him in his feature directorial debut. The first is a scintillatingly stellar performance from Danielle Deadwyler. The second is Washington’s impressive artistic vision which proves that a love of cinema truly does run in the family.

Unless you have truly transcendent performances or unforgettable cinematic moments, it’s difficult for this genre of sports story to really throw a unique punch.

Coppola packs a lot into the film’s 85-minute runtime, but in many ways, the complete experience feels like a slight tease. There is more to explore. There are other portions of Shelly’s life or Coppola’s increasingly poetic perspective of Vegas itself that are calling. But some moments overcome the film’s thin narrative facade and not just Anderson’s triumphant climax, either.

The empathetic instincts of Sanders and his talented artists result in a tearjerker of an ending that may have you bawling.

You believe this woman exists. And Leigh and Jean-Baptiste ensure she will haunt you.

All that being said, the songs are impressive enough that it’s not hard to envision “The End” becoming something of a cult musical. Five years from now, maybe less, some excited college freshman is going to convince the head of their college drama department to let them put on a stage version of this musical. And chances are, it will be a smash. This is material that, with some editing of its book (er, script), a spotlight on the songs, and natural physical intimacy, could flourish on the stage.

It’s somewhat remarkable a new work exists that sparks such conversation in the first place. Even if it doesn’t completely succeed, that’s art. That’s dynamic. That deserves your attention.

Regrettably, any sympathy the film has mustered is diminished by at least three, maybe four, additional endings that are frustratingly superfluous. These never-ending epilogues add nothing to what has come before it and, in many ways, curtail any emotional heights the film has garnered to this point.

Beyond Reitman and Keenan’s tight screenplay and a fantastic recreation of Studio 8H from production designer Jess Gonchor, the movie would not fly without an ensemble that may end up being legendary in its own right.

[Kurzel's] depiction of the action scenes is as close to a filmmaking tour de force as you can get. Even for those who know the fate of The Order and its members, Kurzel and editor Nick Fenton will keep you riveted. Until, alarmingly, they don’t.

Like any good page-turner, Conclave is full of twists. Some you’ll see coming, and others will genuinely shock you. But this is smart, fiery melodrama.

A taught 91 minutes, September 5 is captivating on multiple levels and, frankly, a surprising success considering Fehlabum‘s previous work.