Karen Gordon

The film has a wonderfully quiet, reflective, and intimate tone, but that lovely subtlety ultimately robs it of some of its impact.

The film does a pretty good job of walking the tightrope between comedy and pathos. To that end, Apatow has pulled together a wonderful cast.

Boy Erased isn’t the powerhouse that it could have been. But the movie has heart and soul. And, given that Gay Conversion Therapy centers still exist, the story at the core of the film is an important one.

With its languid pace, rural setting, and natural beauty, The Long Walk is not your typical ghost story.

There is a gentle, sad, sweet core to Between the Temples, though American indie director Nathan Silver seems determined to discourage any feelings of sentimentality in a movie that could easily have tipped in that direction.

Wuthering Heights is a sensual feast. But, while there’s plenty to admire and lots of passion and heat, the film doesn’t quite add up in a way that brings the feels.

The Justice of Bunny King, which follows the story of a woman at odds with the system, is a showcase for the superb Australian actress Essie Davis.

If you’re willing to go with it, the Zellner brothers and their cast have delivered something that is by turns funny, sad, and, in the end, surprisingly poignant.

The Spanish comedy/satire Official Competition plays on those clichés, and yet doesn’t really say anything new. But thanks to its A-list cast, led by Penélope Cruz and Antonio Banderas, it’s quite enjoyable.

Eleanor the Great is a small-scale film with depth and relatable themes: grief, loss, identity, family among them. The film has some flaws that lessen its emotional impact but there is admirable work here all around.

Bottoms is absurd, ridiculous, often wildly inappropriate in the way of teen comedies and occasionally as exaggerated as a Looney Tunes cartoon. But everyone in the movie is giving it their all, taking the craziness seriously and clearly having fun. There are a lot of terrific performances.

Christian Bale leads a fantastic cast in The Pale Blue Eye, a twisty atmospheric detective yarn with supernatural overtones and, for those who enjoy such things, an actual historical touchstone.

The film version of the multiple Tony Award–winning hit Broadway musical Dear Evan Hansen is a mixed bag and a wonky adaptation that doesn’t always quite scan. Yet I’d be lying if I didn’t say that despite its flaws, it’s also strangely affecting.

Wala doesn’t go deep enough, and the film stays on the surface. At the same time, the characters stick with you, enough to make us want to know what happens next for Ash and Claire.

If His House doesn’t quite achieve the deeply unsettling tone that makes a good horror movie hard to shake, it still succeeds as an exploration of trauma, and the way it can shape and challenge the human psyche.

Yeah, the movie does noticeably follow the formula. But still, it got to me. I rooted for the couple who didn't yet know what we knew from the beginning, and I even welled up towards the end, just when the film wanted me to. Predictable reaction. But then, it’s a rom com after all.

It’s ambitious, but not as much fun as it wants to be.

There is an emotional core to Priscilla, and in Coppola’s gentle way, we’re shown a portrait of an unusual relationship, and come away with a less flattering picture of Elvis, more of the fallible human, as opposed to the music icon, frozen in time.

Rifkin’s Festival is a romantic farce, with ideas that long-time fans will recognize from a range of other Allen films, but with one difference. The movie ends on a surprisingly sweet note.

Nattiv is aiming to redeem her legacy with this film. To that end he unfolds the story like a thriller, where we get a sense of the day-to-day tensions of a war that posed an existential threat to her country and the immense pressure she was under. He has cast it well. And yet, despite the tension, Golda is disappointingly flat.

It’s a quiet, thoughtful movie that aims to be sensitive to the family, while plumbing some of the darker feelings that this late success wrought.

It’s a movie that is well intentioned and aims big, but ends up being somewhat shallow.

While it’s fun to see the characters back in action, The Devil Wears Prada 2 is overstuffed and meanders. The film also suffers from self-consciousness. Too many celebrities show up in ways that feel pointless, turning TDWP2 into self-congratulatory mush.

We can see the character’s angst, happiness and sorrow, but it doesn’t cut through. The film’s emotional life doesn’t quite connect and feels remote.

A lot of genuine heart and goodwill has been poured into Jules, a slight, gentle comedy with a sci-fi edge. Heartfelt as it might be and despite a strong cast led by Sir Ben Kingsley, an unfocused storyline undermines the film, making it a frustrating watch.

What redeems The King, beyond the excellent performances, is the way the film gets around to asking questions about making war. Why go to war and who benefits is part of the story here, which leaves it in an interesting place.

It aims to be easy-going, entertaining and joyful, without being taxing or too stressful. At the same time, its reluctance to dig too deeply robs it of some of its emotion and makes it feel superficial.

While it has charm and an interesting twist or two, it lacks bite.