Jose Solís

The film is at its best when it lets Audrey be her own story. There is something quite beautiful in the unassuming way she carries herself walking in refugee camps, hugging orphaned children not because there’s a camera around, but because she couldn’t live in a world where a child had no one to hug them.

If the ultimate result isn’t precisely perfect, it should serve to announce Young as a voice we ought to get to listen to more often.

By attempting to capture the universal instead of focusing on the specific, the film feels like a collection of ideas put forth in an amorphous collage.

Through focused, economic storytelling director J.D. Dillard turns Sleight into the rare kind of film that feels both familiar and unique.

For all the times I applauded the film based on its sociological achievements, I found it deeply unsatisfying artistically.

The film’s greatest achievement is the effortlessness with which Sandoval captures several microcosms simultaneously happening in New York City.

While the rescue scenes are exceptionally shot, and the visual effects are quite remarkable, the predictable plot, and its tonal inconsistencies, make The Finest Hours feel like an endless cruise.

Destin Daniel Cretton’s adaptation of Jeannette Walls’ memoir The Glass Castle is more affected than affecting.

Although Lemercier isn’t a Dion doppelgänger, in the scenes where she lip syncs and moves to Dion’s tunes, she embodies that divinely picaresque energy Dion radiates. And just like a TikTok rabbit hole of Dion challenges, it’s impossible to take your eyes off her.

Are there rules on how to make a space epic? If there are, Luc Besson has certainly never heard them because in Valerian and the City of a Thousand Planets, he takes the genre upside down, gives it a shake and rattle, and delivers one of the most positively bonkers films of the year.

We’re left with a muddled portrait of a young man unaware of the creativity within him, a charming artist in the making who invited us into his life a little too early.

Joan’s peculiar kind of charm is mostly owed to Allen, who gives what might be the most complex, layered performance of her career.

While Lazer Team might not be the most original of sci-fi comedies, it possesses the kind of self awareness — and unabashed love of genre that other films try to pass off as “homage” or “ironic referencing” — that make it quite impossible not to root for it to succeed.

Director Trish Sie knows better than to mess with the formula and the film plays out like a reunion with the characters you love.