Monica Castillo

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.

Despite its gorgeous views and a pair of strong turns from veteran Cuban actors Perugorría and García, the film doesn't connect to the heart of its central character.

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

Such a dynamic personality as Mr. Turner’s could use a more dynamic documentary to illuminate it. As it is, “Dealt” remains a pleasing — if inoffensive — portrait.

Some of the tougher interviews suggest that Mr. Milewski would like Dream Boat to be more substantial, but that impulse is mostly kept at bay in favor of lighter scenes.

Thanks to Mulligan’s electric performance and Fennell’s packed script, the movie never feels as if it lags, but it doesn’t go far enough to smooth over the choppy changes between the film’s witty moments and its stomach-churning dramatic scenes. However, there’s still a lot of promise in Fennell’s film, both in its message, its rape-revenge-influenced riff, and the boundaries it wants to push.

Despite the film’s few imperfections, it’s still enjoyable to watch the cast of older actors refuse to age out of a young man’s genre.

It’s a letdown for a movie that has its heart in the right place to resort to so many clichés.

Were it not for Byrne’s endearingly optimistic performance, most of the charm of Juliet, Naked would be swept away.

A sweet but ineffective comedy that cashes in on drag culture’s new mainstream fame. While the movie brings up a handful of important topics, the way it handles issues like drug addiction and physical abuse ultimately feel superficial and hollow. Fortunately, a few sparkling performances salvage the show from becoming too maudlin.

Its lack of visual cohesion and bizarre finale get in the way of enjoying the whirlwind of fists, bullets, fantastical fights, and a sword with katana-like powers of cutting bodies in half. No one can accuse this film of becoming boring, but its over-stuffed narrative never quite delivers on its promising start.

In a strange way, War Machine kicks off when it proverbially jumps the shark, introducing something so ridiculous as a big killer robot to jolt the movie awake from its ho-hum military recruiting motions. It’s not a movie built to withstand big questions, but for a high-octane action thriller, it’s a lot more fun when it goes off the rails.

It’s also an odd time to release a movie that embraces collaborating with the Russians and painting bad and good guys with such broad strokes. This puts Hunter Killer in murky geopolitical waters I don’t think it knows how to navigate. Neither the movie or Butler is nearly entertaining enough to distract us.

Although charming, the slight “I Don’t Understand You” struggles to sustain its spark. It’s a series of silly events that get progressively ridiculous and bloodier.

Sticky racial politics aside, there are a few inspired moments in Madeline’s Madeline, and most of them belong to the fiercely talented Helena Howard.

While Bloch's emotions and thoughts about the Holocaust and the Israeli occupation are deeply felt, the documentary’s finer points are a little less clear.

As a Latina critic who has been writing about my community’s stories for as long as I’ve had a career, I want better for us and our storytellers. While I enjoy some aspects of this movie, I’m not sure the means justified the lackluster result.

Not all the pieces of Boogie fit neatly together, but it’s a film about a family that doesn’t fit inside the box of a standard inspirational immigrant story.

It’s as if the film doesn’t trust Frida’s images to speak for themselves.

The Mexican film now has a Hollywood remake, one that adds new elements to the story but is less coherent in its message.

Verow, who wrote the script with his writing partner James Derek Dwyer, incorporates many familiar queer narratives and supernatural elements for a story with many twists and turns, some of which work better than others.

Ultimately, the threadbare quality of Constantin Werner’s screenplay cannot be smoothed over with gobs of CGI effects (impressive as some of these sequences look) and the star power of Milla Jovovich and Dave Bautista.

At least the movie features a few solid performances to make it a worthwhile diversion for some viewers. Others less inclined to easily resolved romances may want to book some other excursion.

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.

Based on the Shakespeare play of the same name, Paul Ireland’s Measure for Measure is filled with drama, although perhaps not the kind you’d expect from the Bard. No, this is a modern-day adaptation—one grappling with xenophobia, drug addiction, and gun violence. There are no period costumes here, but there’s a stone-faced Hugo Weaving to make up for it.

Mr. Warth, who wrote the screenplay with Miles Barstead, creates a flawed tale of female friendship and the artist’s everlasting struggle. Unfortunately, Dim the Fluorescents can’t keep its story together.

Quivoron, who co-wrote Rodeo with Buresi, often switches gears between character study and a heist movie, creating an uneasy whiplash.

At a time when it seems like women’s representation seems to be regressing, the intention of the film feels more timely now than when the film ends in 2019, before the pandemic, and the fondness for dating apps starts to wear off. But it was the user experience of the film—where its simplistic narrative design leaves no surprises and plenty of shallow characters—that felt unsatisfying.