Monica Castillo

Although Kristen Stewart pulls off Seberg’s short haircut, she hardly embodies any of the presence or persona of the French New Wave “It” girl. Stewart’s monotonous delivery makes her character sound uninterested and bored.

Although it’s stuffed with many cliches, The Aeronauts can feel like a rather enjoyable bit of historical fantasy.

The movie’s few bright spots feel unintentional, like mistakes left in because no one else noticed the absurdity of some scenes or the comic potential in others.

Mickey and the Bear is an impressive feature debut from Attanasio, one that shows a lot of promise in the way her movie explores characters and uncomfortable stories. When coupled with Morrone’s deft performance, Attanasio gives her lead character so much life and vibrancy.

As with Morgan Neville's documentary "Won't You Be My Neighbor?", the tears may flow freely due to nostalgia or from some subjects hitting too close to home, but A Beautiful Day in the Neighborhood fits as a companion piece. Where the documentary offers a more complex view of the man in the red sweater and tennis shoes, Heller’s movie is more about the cultural impression Rogers left behind.

In watching so many films in a given week, month, or year, it’s rare to find one that sustains its thrills throughout its runtime, matches its gorgeous imagery with a compelling story, and defies easy categorization. Mati Diop’s haunting narrative feature debut Atlantics is one such movie. It’s unlike few other movies you’ll see this year or possibly this decade.

If the documentary starts to feel like a blur, that’s exactly how a member of Lil Peep’s entourage describes the experience of living beside someone who rose and fell so quickly.

Lady and the Tramp scratches an itch for dog lovers and may satisfy the young viewer’s curiosity when digging through the family’s new Disney+ subscription. However, so much of the movie is just fine when not feeling rushed or stilted, but doesn’t offer new surprises to stand on its own.

As a documentary, The Apollo is an illustrative tour through its hallowed backstage, its history and an exploration into its current mission as a cultural institution. It’s a place whose present will always be tied to its past and to how we preserve that history for future generations.

Harrill, who wrote and directed the film, isn’t as interested in the supernatural elements in the film as he is with the story’s few players. There’s a lot of room for emotions to breathe and wash over its characters, but never does it tip over into excess.

Paradise Hills wants so badly to be a sci-fi movie with a message for right now — perhaps to tap into the feminist anger out there now or to cash in on the interest in women filmmakers — but it feels like a rushed draft. There are a few good ideas, a few good twists at the end but not enough to make up for the rookie mistakes that undercut its potential.

In a sea of so much tragedy, it’s a marvel to stop and consider each individual’s experience fighting the tide.

Zombieland: Double Tap continues the original’s cheeky tone and irreverent humor, while it also acknowledges that it’s a series a little out of place and time with the current political age. But if all you’re looking for is “Shaun of the Dead,” but American, then this is the movie for you.

Tragically, Maleficent: Mistress of Evil does not give Jolie and Pfeiffer nearly enough time to face off against each other.

Although the title is confounding and perhaps the movie’s worst misstep, it’s Byrne’s digitized and stilted delivery that earns the biggest laughs.

Director Ivie, one of the co-founders of Arbella Studios, focuses on faith and social justice, and “Emanuel” perhaps best embodies those two tenets without seeming like it’s proselytizing. But the movie is strongest when it just lets its subjects talk with no agenda at hand.

Imagine “Office Space” with forgettable characters and nothing to say about this next bleak phase of the business world.

What Hawley has delivered is a garden variety bad movie, proving the TV wunderkind of “Fargo” and “Legion” was not quite ready for the big screen.

As played by Renée Zellweger, this Judy is painfully and visibly anxious. Or, perhaps this is her idea of drug-induced twitching. Either way, there are spots in the movie where Zellweger’s affected manners become too distracting and overshadow everything else around her.

This is a movie I’ve grown to admire more than I enjoy. Landes’ and Wolf’s imagery is stunning to watch at even if his script with Dos Santos leaves off much of the text.

A disappointingly standard biopic, one whose technical flaws and paint-by-numbers clichés threaten to overshadow its subject’s compelling story.

Ms. Purple is a gorgeous film about one of the worst moments of many people’s lives, but isn’t the act of living just learning how to survive these irreplaceable losses?

Far from being just a simple comedy about fitness and weight loss, Brittany’s journey includes the healing and forgiveness it takes to really meet those goals.

Once the spell of Tigers Are Not Afraid ends and the credits roll, its story lingers in the air. It’s a story of sadness, loss and survival, a fairy tale tailor-made for our anxious times.

It’s a privileged perspective with nothing to share for the rest of us.

True to its word, Scary Stories to Tell in the Dark delivers an entrancing thriller that explores the power of narratives with a few screams to boot.

With Love Antosha, there’s now a coda to Yelchin’s story beyond somber headlines and obits. There’s an impression of who he once was to those who loved him and a sense of how we might remember him having heard their stories.

It’s a movie that viewers might find difficult to love but slow to forget.