Nick Schager

A hot-blooded crime story whose affectations outweigh its subversions.

Together, [Culkin and Eisenberg] make for a winning pair, balancing each other in a variety of ways that speak to the material’s larger concerns about loss, grief, remembrance and regret.

As far as celebratory backward glances go, it’s compelling enough to temporarily brighten one’s day.

The director’s latest is a distinctly cool, dynamic Soderbergian riff on Michael Powell’s "Peeping Tom" via "The Haunting," with a dash of "Paranormal Activity" sprinkled around its edges.

A socially conscious romantic comedy, and if those two modes don’t sound compatible, [writer/director] Libii does nothing to alter that impression.

Although handsomely mounted and occasionally chilling, it’s the cinematic equivalent of a one-note tweet.

You can cut-and-paste all your adolescent obsessions into a giant collage (and recruit Pedro Pascal and Ben Mendelsohn to participate in the madness), but that doesn’t mean it’ll amount to more than a messy, insubstantial grab bag of your favorite things.

It's a thriller, a heist caper, and a surprisingly moving romance all in one, and it seems destined to be one of the breakout hits of this year’s Sundance Film Festival.

A three-hour drama whose slender story serves as the skeleton for a formally exquisite examination of loss, faith, family, and connection, it's the year’s first masterpiece.

A pedestrian thriller that never generates a modicum of suspense.

Love Machina’s scattershot structure does its subjects no favors, with the film taking a variety of meandering detours until its overarching purpose grows hazy.

Pictures of Ghosts isn’t a timeline but a winding journey through remembrances of things past, and it moves with entrancing gracefulness through a history that’s near and dear to Kleber Filho’s heart.

Hit Man is hot and hilarious, a winning combination amplified by a story that gets knottier at every turn.

A beat-‘em-up whose competent fight sequences are ultimately overshadowed by its unintentional humor.

It takes its time—quite frankly, too long—to deliver the gruesome goods/

[Bayona's] finest film to date, and a fitting tribute to those who both perished and managed to escape their fateful mountain tomb.

An old-school melodrama of pride, folly, and sacrifice that’s electrified by yet another superb turn from its leading man.

It boasts some of the nerve-wracking anxiety of Uncut Gems and the keenness of last year’s standout Playground, even if it doesn't eventually pull off its delicate tightrope act.

Overwhelms via length and monotony, employing a challenging form that’s both its greatest strength and, ultimately, its most frustrating weakness.

A sweet and sad slice-of-life about the comfort and sorrow of solitary repetition, buoyed by a Yakusho performance that rightly earned him the Best Actor prize at this year’s Cannes Film Festival.

A franchise farewell so underwhelming, nary a tear will be shed over its passing.

A stately affair that’s never particularly intellectually incisive or revealing, and its stolid execution fails to transcend the material’s inherent staginess.

Cheerfully dumb and dutifully formulaic, it’s “content” in the worst sense of the term.

Hits many of the right feel-good notes. Unfortunately, it also strikes a lot of discordant ones, neutering most of its attempts at rousing inspiration.

This misbegotten attempt at creating a new out-of-this-world Snyderverse is merely a knockoff dressed up in its director’s stylistic signatures.

Blame for this sports drama’s shallow leadenness can’t be similarly pinned on the supernatural; instead, its shortcomings are attributable to a one-dimensional script and resultant performances that are far less nuanced than its headliners’ ripped bodies.

Its lack of originality is at least partially offset by its gripping depiction of intolerance and exclusion as impediments to survival.

A gut-wrenching saga about illuminating the darkest corners of private lives, and about the difficulty—and perhaps unjustness—of genuine Christian forgiveness.