Kevin Jagernauth

The Kid Who Would Be King blows the dust off an old tale, and makes it invigorating and inspiring for viewers who will be forming their own round tables of world-changers for generations to come.

A drama crafted with precision, and feeling, West of Sunshine succeeds admirably with its modest ambitions, as the filmmaker puts himself on the horizon as one to watch.

A film with a universal sensitivity that relates the pangs of first love, the desirous ache of adolescent sexuality and the excitement of not just discovering yourself but finding those kindred spirits with whom you can share your life.

The young couple exists in a bubble of love that has an air of reality sucked right out of it.

You might not understand what the hell is happening in Let The Corpses Tan, but you’ll certainly never be bored.

With no unique viewpoint on the story of its own, it’s perplexing why Papillon went in front of cameras at all.

Beast takes a storytelling gamble, presenting itself as a psychological whodunit, before pivoting toward a more genre oriented plot. The risk doesn’t quite pay off, undercutting its thematic potential for thrills that aren’t quite that effective.

It’s the kind of smoothly rounded, edgeless historical drama that’s built for maximum appeal, with a broad perspective and an easy to digest tone. Well-crafted and ably told, this is a film that’s wholly respectable though not particularly memorable, but still manages to connect with its earnest good intentions and desire to please.

Marked with a conveyer belt quality, Kodachrome is every indie dramedy you’ve seen before, just like more of you’ll see after, and unlikely to create a cherished memory that you’ll want to revisit.

Earnestly aiming to land with the weight of an Important Film married with Big Ideas, the more Submergence tries and strains to find connections to contemporary issues, the more those beats ring hollow. “Submergence” not only leaves the talent involved underwater, but the audience also longs for anything of significance to cling to.

Chappaquiddick hardly lands with the power of an exposé, and doesn’t bite hard enough to spur a reconsideration of the Kennedys. The film revives a chapter in Kennedy history, but what it means nearly forty years later is never quite clear.

Outside In is not a story filled with events or even big moments, but, instead, accumulates its momentum through the numerous small decisions that eventually bring our leads to a hard won understanding.

The greatest benefit of the shock release of The Cloverfield Paradox is that going in cold makes the most out of the film’s bonkers turns.

“Star Wars” has always been about destiny, fate, and legacy. However, perhaps like no film in the franchise yet, The Last Jedi seriously considers the hubris that comes with certainty, and how knots from the past that can keep you bound from moving forward.

By time Justice League gets to the finish line and credits — stick around, there is an abysmal mid-credits scene, and a decent enough post-credits scene — exhaustion has long set in.

It’s one of the most refreshing and satisfying Marvel movies in some time, precisely because its willing to do many things that Marvel hasn’t done before.

With some films, you can tell where one or two things went wrong — perhaps a decision in script, or a performance that’s off base — but The Snowman is the rare movie where for every choice, there was a better way to go.

Professor Marston And The Wonder Women tackles one of the most curious chapters of comic book history with an overly classy sheen.

Sorkin’s swordsman-like pen continually keeps the picture engaging; his knack for one-liners and absurd dialogue detail remains finely attuned.

Mark Felt: The Man Who Brought Down The White House couldn’t be more timely, yet those parallels never quite resonate.

Brad’s Status rarely affords its titular character an opportunity to have a real conversation with anyone else his own age, so the movie becomes a monologue from someone you quickly realize you don’t really want to get to know anyway.

Silveira sets herself up for a balance between realism and aesthetics that she can’t quite navigate.

If nothing else, Reybaud’s debut flaunts his knack for casting, particularly with the lead performance by Pascal Cervo.

For all the strong performances and able filmmaking, My Cousin Rachel never quite coheres.

While the film never reaches the kind of emotional peaks of James’ best work like “Hoop Dreams” or “The Interrupters,” Abacus: Small Enough To Jail is no less compelling. And it serves a very important reminder, particularly at a time when more than ever, it seems banks are putting profit in front of people.

Its multiple charms are so sly, the performances so perfectly unflashy, you’ll likely be surprised at how affecting it becomes in its final stages.

Perhaps the array of characters read better on the page, but it all feels slight in execution, particularly when half of the running time is spent on Tommy’s past and what unfolded between himself and Shelley. Combine all that with a particularly lackluster sense of urgency and pacing, and you have film that offers few reasons for investment.

A movie with the bleakest vision of Wolverine yet, but also hands down the best treatment the character has received on the big screen in the fifteen plus years Jackman has inhabited the role.