Gregory Ellwood

It’s a subtle and poignant performance that makes you eager for Richardson to have an even bigger spotlight in he next endeavor.

While the entire cast is superb, it’s the rich performances from Watson and Mescal who elevate the material beyond that aforementioned air of familiarity.

Gilroy has fashioned a character study that has moments that are incredibly well written.... What’s extremely disappointing is that the screenplay’s through line is simply not that interesting.

This version of Cyrano feels less fresh or contemporary than it wants to be. Something is missing either in the songs, the staging, or, more likely, the screenplay. That being said, the core story will still be compelling to many as it has for over 120 years.

It’s all fun and murder games (until it’s not), but something is missing. “Maxxxine” feels a bit emptier than the first two installments. Goth is quite good at reprising the role, but Maxine is sort of already a fully-baked character.

Where Akhavan succeeds is whenever she has the kids doing things teenagers would be doing.

Even at its most unwieldy, Audiard’s cinematic skill and Zoe Saldana‘s at times dazzling performance make it hard to ignore.

Carousel is another entry in a run of magnificent Jenny Slate performances.

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.

Despite Ben Hania sticking to her cinematic formula “Four Daughters” is genuinely hard to forget. It will linger with you for days afterward. That’s mostly due to Olfa’s heartbreaking perseverance to find her children and a wee bit of Ben Hania’s storytelling skill too.

Magee’s script doesn’t always give them enough material to play with, but Corrin runs with it and, most impressively, with a freedom that totally clicks with de Clermont-Tonnerre’s sensibilities. And yet, when the credits roll it feels like something is missing and, well, you somehow wish they’d pushed it even more.

In the hands of another filmmaker, these events could be the sparks of loud and fiery confrontations, but Simón insists they play out in a grounded, quiet fashion. There is barely a hint of melodrama, even when you can sense the tension amongst the siblings and their parents.

For every scene that doesn’t work there is another that’s spellbinding. It’s gutsy and provocative and, frankly, that’s a compliment you can’t give many independent films these days.

As Love Me unfolds, it becomes an exercise to explore how very human emotions affect evolving artificial intelligence beings. Although referring to it as an exercise sounds unfairly cold. The movie is certainly not that. Both Stewart and Yeun bring passion to their characters. . . But something feels off.

There are moments of genuine magic that make you wonder what this movie could have been. But do they linger like that imaginary friend you’ll never forget? In this case, perhaps not.

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.

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.

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

Despite a committed performance from Benedict Cumberbatch, the end result truly doesn’t coalesce either from an artistic or cinematic perspective.

What’s fresh and compelling are Wilde and Hoffman. They are so stellar together that the film’s multiple endings work because they are front and center in them. In the end, almost despite Araki’s efforts, they make having “Sex” worth it

Disappointingly, and despite the best intentions, Durham’s overwritten script diminishes some potentially truly moving moments over the course of the picture. There is simply too much clunky exposition.

When the laughs fade, the tone feels all too familiar. Despite superb work behind the camera and some picturesque Estonian locations, “Bubble” is less original than it wants to be.

[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.

Bale and Pike are superb. Despite some melodramatic tendencies and strange choices in Cooper’s script they make you have sympathy and compassion for each of their characters.

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.

Despite a very frank and welcome illustration of gay sexuality rarely seen in modern media (in this manner at least), Greater Freedom continually teases us with storylines and subject matter by choosing to frame this era through a relationship that it cannot rationalize.

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

The film’s inherent problems, however, are two fold. First, the third of the picture is an absolute slog. The Zellner’s may have though this was a creative choice to make the comedic scenes funnier when they finally hit, but it simply doesn’t work. Second, the funny bits simply aren’t as funny as they should be.