Josh Kupecki

One of the main pleasures of the TV series was how Cross and co. always had Luther caught in the crosscurrents of two conflicting agendas, and the tension of that juggling act provided much of the pleasure, especially when it all (mostly) worked out. Fallen Sun is a rote and simpleminded letdown by comparison.

Both Glenn Close and Mila Kunis are very talented actors, but Four Good Days gives them absolutely nothing interesting to say or do.

Formally, Waiting for Bojangles looks marvelous, with Roinsard artfully weaving through throngs of partygoers placed in vibrant, lived-in spaces and exotic locales, and Virginie Efira continues her run of outstanding performances (see Sibyl, Benedetta), but she is ultimately ill-served by a character and a film that’s removed any gravitas it seeks to instill by paradoxically not being removed enough.

The performances are wonderful, especially Hoult and Collins, who exude a charming chemistry, and fans of both the books and the films will find pleasure in this look at the early life of the man whose work still influences artists to this day.

Alice stitches together an intriguing premise, but ends up weaker than the sum of its parts.

Much like the behavior of Sheriff Ambrose as he investigates the murders occurring around him, the story is best served as something to be glanced at rather than examined too closely. If you stare too long at fool’s gold, it loses its fleeting appeal.

Much as he did with his 2016 feature debut (at the age of 23), the love-triangle drama As You Are, Joris-Peyrafitte tells this story with welcome subtlety and a keen attenuation to his actors.

More thought seems to have gone into the future foodstuff and eating utensil design than in the narrative. It’s a lazy film, one whose future will most likely live on in mediocre undergraduate term papers.

In the hands of director Nimród Antal, a filmmaker who’s made good movies (2003’s Kontroll) and bad movies (2010’s Predators), who has worked on engaging TV shows (Apple TV+’s Servant) and brain-dead TV shows (Netflix’s Stranger Things), Retribution falls pretty much right down the middle.

It’s the lack of tension, overlong running time, and ultimately mawkish message that makes Needle a nonstarter.

Silk Road is not without its pleasures – Clarke especially is fun to watch as he gets increasingly cornered with his shakedown shenanigans – just don’t expect the kush; this is strictly schwag.

Chaos Walking is, as with any pop confection, catchy and has a solid beat, it’s just a shame that this tune is all too familiar.

With way too many tonal shifts and a narrative that trades cohesion for caprice, the film feels like riding shotgun with a toddler attempting to drive a manual transmission.

While Reality Queen! seeks to parody contemporary culture, the irony here is that it is the very vapid thing it mocks. Ouroboros, eat your heart out (well, I guess it will anyway, endlessly).

The film offers a familiar structure of family, friends, and experts speaking of O’Brien’s struggle, of the need for more awareness, and of the growing health care crisis that looms in the not too distant future.