Nick Allen

What’s impressive about the documentary in particular is how it captures a wide range of personal histories, placing viewers in the various emotional journeys of different Cambodian refugees who call Ngoy "Uncle Ted."

This is an excellent display of O’Brien’s infectious imagination and comic energy.

Toxic behavior is eternal, and Evil Eye sincerely depicts both those who do not recognize it, and those who are all too familiar with it.

Nocturne isn’t just the best entry in the “Welcome to the Blumhouse” series, it’s one of the best Blumhouse movies in years.

Black Box is a little wobbly in balancing its science-fiction logic and some wholesale horror thrills, but to the credit of debut director Osei-Kuffour Jr., both genre elements have their place.

Very little about this movie works, in spite of a certain ambition in telling a story based solely on unfathomable decisions.

Originality is missing from the movie, but it has plenty of great jokes and a whole lot of people you enjoy hanging out with. When a horror-comedy is as agile, charming, and funny as this, everybody wins.

Of course, this film wouldn’t work without such engaging storytellers, and Scare Me has that with Cash and Ruben.

For all the nostalgia that comes with seeing David pop in a VHS tape, the movie’s time period allows Stevenson to focus our attention on the horror emitting from just one screen.

For however quaint and sporadically quirky it is, The Mole Agent is an earnest look at old age, and a community full of people just like Sergio.

Even for a movie about a theatrical sport, focused around an actor who wants to learn what it's like to wrestle for real, You Cannot Kill David Arquette rings far too much like a vanity project.

A sharp, funny, and bizarrely responsible documentary about an amusement park in Vernon, New Jersey.

The frantic adults and kids in Trish Sie’s The Sleepover are often screaming, but that doesn't mean they’re getting anywhere. You’d think that a story about a mom's cool secret and kids breaking curfew would be a lot more fun, especially with a charismatic cast like this, and yet The Sleepover is mostly about killing time, specifically that of your own.

Kevin Tran’s The Dark End of the Street is a warm, modest film all around—its ambitions, filmmaking, and especially pacing.

Despite the sincerity that’s in every scene with Rylance’s performance, the movie's good intentions remain wistful, and thoroughly frustrating.

The film's poetry is like the close-up of the clenched fist that Rowland uses to introduce us to his character study — there’s a thoughtfulness behind the tight fingers, maybe even a broken soul, but its expression is that of a blunt object.

This is a movie for instant fans; it's explicitly for anyone who doesn’t needs any convincing about why we'd instantly love them, much in the same way its underdog tale is eagerly meant to be seen as pure, and even more cloyingly, as crowd-pleasing.

One of Bress’ greatest strokes comes with casting — he’s collected five faces you might recognize from younger, more innocent roles, and who are compelling to see here as men who have matured rapidly due to the wartime experiences eating away at them.

Their game of cat-and-mouse is not meant to be original in the slightest, but there's no good reason for it to be this dull.

A movie that bases part of its drab period fiction on the fantasy of getting Freud’s friendly advice, all for the price of a good cigar. But the script, based on a revered novel from Robert Seethaler, concerns more serious themes than Freud's off-hand advice, though its shallow storytelling gives little to contemplate.

Yet while the doc might prove that his approach worked, it’s progressively tedious to revisit these hits through such a thick air of self-affirmation.

Any degree of sleaze requires a little wit, and Yummy has none. As it struggles to be even mildly significant in the sprawling history of zombie stories, it eventually leaves viewers with a movie that's just plainly ugly.

This Netflix documentary will undoubtedly help more people understand how transgender people have seen themselves represented in Hollywood — it brings everyone together with its critical eye.

A wholesome fantasy built of serene settings and cute animals is more fun when it gets a little wacky, and thankfully A Whisker Away has some left-field ideas to make the tale more magical as it goes along.

If you’re going to check out the social media “Bonnie and Clyde” riff Infamous, do it for Bella Thorne’s performance. From the get-go she has the classically great presence of someone like Sandra Bullock, but with her own scraggly edge.

Mighty Oak is clumsy when presenting its darkest stuff, and can't balance that with its sporadic attempts at broad humor.

Whoever advances to each respective next round, you want to root for these kids, and cherish the way they advocate for intellect at such a young age.

You’ve got to lower the bar for a cliche-at-best thriller like Survive the Night. If it keeps you awake, consider that a success.