Lindsey Bahr

And for all the comedic talent in the film, from Curtin to Lloyd, who seem game for anything, there are precious few genuine laughs to be had. Perhaps the script should have allowed for more improvisation.

It’s exactly the kind of big, silly, occasionally exciting spectacle that have come to define summer movie season, for better or worse. There’s even an opening for a sequel.

While it might not knock it out of the park, Edge of the World is still a very solid watch if a little slow-going and might also just inspire you to revisit some of the classics its indebted to which is its own small triumph.

Anyone hooked on Mare of Easttown and looking for a holdover in between episodes would be well-served by the intrigue of The Dry. It’s actually a bit of a wonder that it wasn’t stretched out into a television series itself, but Connolly has a command on the pacing and The Dry never feels rushed or undercooked.

It’s hard to imagine seeing it anywhere but on the big screen. It’s the kind of movie that demands it.

The good news is that Without Remorse is pretty great when it comes to the action, and there is a lot of it.

They’re just two strangers thrust together by this surrogacy agreement and spending time with them is not fun, engaging or enlightening enough to sustain a movie.

Voyagers is simply a semi-effective thriller with about as much emotional intelligence as its lab-produced, hormone-controlled, sequestered youngsters.

It doesn’t always work, but the writing is sharp, the performers top-notch and the set designs achingly beautiful.

Six Minutes to Midnight is entertaining enough if a little underwhelming.

While it might not be on the same level as Bridge of Spies, it’s solid, well-acted and enjoyable nonetheless.

It’s a smart film, certainly, but maybe not as smart as it wants to be. And there are a couple of clunkers that bring the mostly meditative experience to a halt.

Raya is undoubtedly a visual feast. It’s also the best kind of feminist film in that it’s one that doesn’t clobber you with the message. Raya is allowed to be awesome without the script shouting about it all the time and it’s better for it.

This does not come across as a vanity project that’s been intensely controlled by the star or the machinery around her, either. It’s refreshing. It’s also probably one of the last times we’ll all be invited into her life in this way.

This film is a small miracle and a uniquely meditative experience.

Minari could not be more personal. Filmmaker Lee Isaac Chung based the film on his own childhood in the 1980s, when his Korean American parents moved to Arkansas to start a farm. And it’s the specificity of this delicate tale that makes it so universal and so great.

Religion and horror are hardly novel bedfellows, but writer-director Rose Glass crafts something fresh of the construct in her promising debut Saint Maud.

Compelling performances make Palmer watchable and fairly affecting despite the fact that we’ve seen this kind of thing so many times before.

Conor Allyn is clearly a talented director and has a lot of reverence for the Western genre, but for as good and lofty as it’s intentions are, No Man’s Land comes up short.

In some ways “The Dig” feels like its own artifact too, like a lost Anthony Minghella film made 30 years ago and buried until now.

This movie will not be for everyone, but it is important not least because it continues to advance the discourse around miscarriages which is a trauma that couples, but mainly women, have been expected to shoulder in secret for far too long.

Written and directed by Eugene Ashe, Sylvie’s Love is an ode to classic melodramas, with sumptuous set design, gorgeous costumes and an enveloping soundtrack of mid-century hits.

It has the makings of a stealth classic.

Although the event and aftermath were widely, exhaustively covered, I don’t think I’m the only one who lost the thread early. This not knowing is part of what makes Ryan White’s extraordinary documentary Assassins, about the trial of the two young women, so compulsively compelling.

The writing is wry and occasionally quite funny. It’s not unsurprising that it made for a good play. But on film it moves at a languorous pace. Like its characters, it’s not interested in getting anywhere anytime soon.

The film itself might not wrap up in any sort of tidy or satisfying way, but nothing leading up to the conclusion would lead you to expect something so basic.