Kristen Lopez

You, Me & Tuscany is a deliciously charming throwback and a new step forward for the romantic comedy genre. It's also a showcase for Bailey, who'd do well to do several more of these movies as her affection and personality work so well with something frothy like this.

The Moment might appease xcx superfans just content to watch the singer do anything, but it yields little beyond that. Though worthy in its attempts to modernize the rock mockumentary, there's no real humor or depth to the material, and what meaning is there has been done better before. Just listen to brat again. On repeat.

If you've been ride or die for this series since its inception then there's little that will change that. For those looking for a good time at the movies, Avatar: Fire and Ash offers some thrilling visuals but little else. The story is repetitive and unfocused, the characters dull and lacking depth.

There are fits and spurts of '80s action cheese but, for the most part, the script is wildly inconsistent in terms of tone while characters are wafer thin caricatures.

It is Channing Tatum who keeps the audience riveted to Roofman, even when the script gives him a gaggle of underwritten characters to work opposite.

All the individual pieces that make “Allswell” interesting are smothered in treacle.

It’s a sanitized, Cliff’s Notes version of the original with a few songs thrown in. It’ll be great for audiences to see Renee Rapp, if they don’t know of her already, but she’s not in it enough to help save the rest of the film. This may not be your mother’s “Mean Girls” but it’s doubtful it’ll be anyone’s.

Freud’s Last Session will certainly find its fans, and the actors are all superlative. But the whole affair feels a bit too dense to enthrall and the script never dives deep enough into these characters’ psyche to tell us something new or particularly unique.

Pain Hustlers entertains thanks to its strong leads but it’s hard not to find it a derivative look at a tough topic that relies on tropes from far superior movies.

Overall, there’s just nothing about this interpretation of the character that makes him stand out as Count…Dracula versus just another standard vampire, a fact that only becomes more troubling since it’s doubtful most people will equate the Demeter with Stoker’s novel at all.

What keeps Cobweb moving is the duo that is Lizzy Caplan and Antony Starr and, if anything, it’s frustrating that the movie doesn’t utilize them more.

Watching and processing Sansón and Me is a melancholy experience. As Reyes tells Andrade early in the process, this documentary won’t exonerate him or get him released from prison, but for Andrade, the opportunity to tell his story and have a living example of his memories saved is enough.

The film presents a contemplative elegy for a hotel whose history is (still) being eroded, but by focusing on the literal walls (and how they, of course, can’t actually talk) only further removes the voices of the very people who live (and dream) inside of them

It’s a decent Cliff’s Notes version of the narrative with glimmers of something far more fascinating. It just feels like Broomfield missed the point on saying anything ground-breaking.

This Bob Ross doc isn’t just messy, it one that paints a mixed portrait that’s hard to decipher.

Sweet Girl is dumb in all the ways you expect, and yet with Isabella Merced things feel understandable. It’s just frustrating that the twist undermines her, outside of being utterly weird. That being said, if they wanted to greenlight a “Sweet Girl 2” and give Merced her due, I’ll be waiting.

Materna has some good ideas, but the surrounding landscape feels generic.