Murtada Elfadl

In trying to do too much, the filmmakers end up with much less than they could have.

For the most part, Operation Fortune: Ruse de Guerre is a fun time at the movies. There’s laughter, action, and movie stars playing to their strengths. It’s exactly what audiences expect to see from Ritchie and that’s its main selling point. If only the second hour was tighter, maintaining the film’s fast rhythm.

Asking the question “what makes a good person” might have been an intriguing idea. However, in trying to come up with an answer, A Good Person ends up presenting an overwrought narrative that’s full of cliches that do not resonate.

It leaves a lot to the audience to figure out about Hamed beyond what’s publicly known, as it’s clearly more interested in Ingle. While far from being a knockout, the film lands enough solid punches to leave a mark.

Instead of a classic tragic romance, it ends up being a turgid, airless concoction. Styles’ fans might find something to admire since they’ll get to gaze at their idol. But the rest of us should avoid looking.

It’s the lame jokes and repetitive dialogue that keep it from landing any laughs. The cast is essentially left stranded, mugging for the cameras as they desperately try to compensate for the undercooked script.

The original Austrian film had shock value and genuine, gruesome horror. This new Americanized version sands the edges off of the narrative every chance it gets.

Director Tina Gordon crafts a musical that’s carried through by a charming cast and highly entertaining ensemble performances.

Unfortunately director Reinaldo Marcus Green, along with his co-screenwriters Terence Winter, Frank E. Flowers and Zach Baylin, waste this opportunity and Marley’s legacy with a rather limp story full of cliches and perplexing choices.

The plot is so straightforward and reminiscent of a thousand other crime movies that nothing will be missed. Alas, nothing is gained either, and the entertainment value is subpar at best.

Davidson shows he may not have the chops to carry a horror film, while DeMonaco fails to deliver any thrills this time. Ultimately, it’s a by-the-numbers effort that proves quite disappointing.

The arguments presented by the characters on each side are broad and reductive. There’s no nuance and no original thoughts. The information is obvious and presented at its least confrontational. It’s a scene meant to depict the moral dilemma at the center of its story, and it ends up being ridiculous.

A by-the-books comedy, “The Out-Laws” misses its target. It doesn’t make its audience laugh, and it wastes its cast by putting them in the most obvious situations and giving them forgettable jokes.

Faced with a flat script and uninspired direction, the actors can’t save Five Nights at Freddy’s.

Perry knows what he’s doing. He can’t possibly think any of this is believable for one second. But it could be fun to discuss its outlandishness over a few glasses of wine.

What Assassin Club lacks in fully developed characters, it more than makes up for in kinetic thrills. Golding proves that he can carry both the romantic and physical aspects of such a project, while looking delectable, and that’s probably as much as the audience for this film expects.

This is anonymous filmmaking of the highest order—it could be about anyone. There’s no insight into Ferruccio Lamborghini or what made his pursuits special. It could also be directed by anyone—Moresco’s indistinct filmmaking is neither enthralling nor involving.

he nonfiction film is a clear-eyed look at how everyday life and the accompanying humdrum tasks go on despite the threat of violence at any moment.

Night of Nights is documentary filmmaking at its most raw. A journalistic endeavor that’s also concerned with human attitudes, it captures not just the facts but also the experience.

The Black Garden is more than just a chronicle of a conflict. With a probing camera conveying images both beautiful and intimate and observational filmmaking that coaxes real emotions, it manages to tell a story of four men who represent their village and people.

While there’s more people talking than dancing and we never hear a full song, the editing adds a lively pulse to the storytelling that keeps it all moving forward entertainingly. That’s because the story itself is so amusing.

Annapurna Sriram manages to succeed in delivering a singular vision in all aspects of filmmaking, though not without its influences.

Nearly every scene plays a bit too long. The characters keep at it until they exhaust the situation and whatever jokes it brings, to the point it stops being funny and starts to grow tiresome.

Gugu’s World is such a crowd pleaser that it deserves to be seen widely by audiences. They’ll be in for a real treat.