Maureen Lee Lenker

As it did in 2004, Mean Girls is a playground for a melange of fresh, new talent for whom we hope the limit does not exist. Did we really need another film version? No. But it’s pretty grool that the one we got is such fun.

Though the panoply of accents the actors choose could easily fill out a Midwestern grocery store checkout line, there's not a performance here that isn't admirable for its sheer chutzpah. Nichols has assembled an estimable ensemble, and they bring to life the antics and erratic violence of their characters with great authenticity.

Key Largo is heaps of fun if you’re willing to go along for the ride, but perhaps slightly more silly than audiences might expect (or creators intend).

The broader recognition of Rustin's efforts may be long overdue, but that doesn't mean a cinematic rendering of his life should feel as dated as our nation's own historical shortcomings.

With stellar performances and the foundation of a beloved novel, The Color Purple should be as lush and beautiful as its titular hue. Instead, it’s just… here.

Better Man is beautifully emotional and engaging, and it’s an admirably big swing. But it would have a greater shot at making audiences go ape if the primate concept were used more judiciously.

Priscilla is incisive in its portrayal of its central relationship, but it needs a little less conversation, a little more action when it comes to its heroine's path to self-determination.

From its Saul Bass-inspired opening credits to its callbacks to Saturday morning superhero cartoons, it practically vibrates with its sense of time and place.

Without Ronan's towering talent, The Outrun could easily be a trite addiction drama. But Ronan, cast against the backdrop of the sublime, evocative Orkney Island landscapes, elevates the film to a moving tale of overcoming one's demons and learning to savor life as it comes.

Amidst all this, Venice is also just a heck of a lot of fun, from its eerie Venetian mask costumes to the intriguing ways in which its central mysteries unfold. With heaps of atmosphere and a general spookiness, it's the perfect choice for a Halloween party.

There’s honestly no real reason for this iteration to exist. At least, though, it doesn’t cheapen its source material, trusting in the good (dragon) bones that have always been there.

If this sounds a bit complicated, heavy on exposition, and jumbled, well, that’s because it is. It’s never a great sign when a screenplay has five credited writers, as Brave New World does...Still, Brave New World works significantly better than plenty of other Marvel films.

Despite a slow start and its wildly varying tones, Emilia Pérez works best when you give yourself over to its harried, shaggy magic. It's an ambitious, provocative, big swing of a picture — and if it's not always a home run, at least it manages to consistently get on base.

There are glimmers of insight here, often in the brighter moments (for instance, the sweet story of how Pharrell devised his massive hit, "Happy," and the emotional response triggered by its success). But despite touting an inventive concept, the whole thing remains fairly surface level.

It is quite the tale of heroism and courage in the face of adversity, as well as the importance of teamwork and never giving up. But that is all diluted with so many things at play.

There are interesting concepts at play in the ways Fingernails explores loneliness and desire. Notably, the test doesn't account for long-term compatibility but the more intangible presence of love. But the film doesn't go far enough in the ways it questions the science and accuracy of the test.

With a cast this excellent, there's a capacity for something truly super in a future film — if only Gunn chooses to put the characters' humanity first.

The movie is well made and it’s a lovely celebration of a real-life hero. But the whole thing feels very predictable, which amounts to a general sense of mediocrity.

Like the butterflies and pockets of natural beauty that Bailey is drawn to, there are glimmers of potential in Bird. But it never fully manages to take flight, leaving its provocative conclusion more jarring and confusing than revelatory.

Costanzo wants to tell a story set in the past, but he doesn't spend enough time fine-tuning the particulars that make period pieces feel vital rather than stagey. Additionally, at 140 minutes, the film is self-indulgent in length.

Howard, working from a script by Noah Pink, has a lot of plates to keep spinning, including the story's wild swings between outrageous outbursts, sometimes played for laughs, and dog-eat-dog tension. Inevitably, with such an act, a few plates are bound to break.

Fincher is adept at excoriating the darkness of the human soul, but he's missed his mark with a character so blindly determined to prove he doesn't have one.

With their abrupt violence, grotesque body horror, and mordant sense of humor, all three of the stories feel more aligned with Lanthimos’ earlier style, The audacity that has so defined Lanthimos and Stone’s work together remains, but here, it takes on a nastiness that becomes tedious the longer the film stretches on (and on and on to a nearly three-hour running time).

The visual effects and animation teams scale a monumental peak here, and their work, at least, is worthy of praise. But Nathanson’s screenplay is a spiral of ever-increasing peril.

Queer is an exercise in cinematic smugness. It’s a shame because it does contain some truly fine performances and compelling imagery. But much like its central character, it can’t get over itself.

The film does not valorize Ferrari, but it doesn’t complicate him either. And while its racing sequences are exhilarating, it should have spent more time looking under the hood.

Despite a trio of knockout performances, The Cut is a lackluster boxing drama.

There’s no desire to interrogate her artistry or to grant a portrait of what made her tick. In this rendering, Winehouse is made up purely of audacity, vocal theatrics, and addiction-fueled behavior. When it comes to this surface-level exploitation of Amy Winehouse’s life, just say no, no, no.