Patrice Witherspoon

The film gives good insight into the confusion and fear we may face when exploring our sense of self.

Ultimately, Pain Hustlers is a mixed bag of entertainment that opts for flashiness instead of focusing on the important elements of the story at hand — the people affected by the carelessness of others.

The most frustrating aspect of Paper Tiger is that there’s an exceptional film here somewhere. The budding tension was magnificent, to the point where the action that followed felt like a giant sigh of relief. Unfortunately, it just wasn’t enough – so much so that the 115-minute runtime felt entirely too short.

Because of some questionable decisions, the film's key messages aren’t as effective as they could be.

Birth/Rebirth contains wonderful performances from Ireland and Reyes. But Moss’s directorial debut needs quite a bit more than stunning performances to leave a lasting impression.

There’s no denying this is a film capable of winning audiences of all types with its inherent charm, humor, and nostalgia. For me, however, this was 91 minutes of unfocused, chaotic energy that I did not enjoy. Tonally, the movie is all over the place, while its themes are explored with timid execution.

The most interesting and beautiful piece to this puzzle is the fact that Dillane's performance can steer the audience in any direction emotionally and at any given moment.

None of the film's themes blend together appropriately, even when one may suspect a great film will break through.

Armageddon Time excels at capturing naiveté but under-commits to sharing the truths of racial disparity when it comes to the American dream.

While showing good potential overall, Kendrick’s directorial debut is hindered by tonal imbalances and poor editing.

A harrowing narrative that contemplates the transition from girlhood to womanhood, Arnold uses magical realism to capture preteen angst with a strong desire for existential freedom.

The film exceeds expectations with respect to being a Netflix Christmas production, but it is thoughtful and sincere all the same.

Director Chuck Russell’s projects always bring a sense of vivacity and killer action sequences in ways his peers often struggle with. But this time around, the magic is missing from Paradise City. Sure, his film contains reliable and entertaining components like most action features do — including an underlying vengeance plot, an expert conman, and even a budding romance — but these elements tend to quickly run their courses thanks to a predictable script, wonky dialogue, and pacing issues.

It doesn’t break any genre barriers, nor does the film offer anything new to say about these respective topics. However, Tagliavini nicely crafts a Christmas rom-com that is funny and sincere — a feat with which many other holiday romantic comedies have struggled.

With the exceptional performances from the cast and several laugh-out-loud moments, this creative film is wildly entertaining.

It may not be the best biopic ever told, but people will certainly walk away from Rustin more educated, inspired to be the change they want to see in the world, and grateful that movies like this are willing to tell the truth about buried history.

Where the film lacks realism and sense, it is made up entirely by Hathaway and Galitzine’s sensational chemistry.

Sissy sacrifices its themes for violence and surface-level explorations of psychological realism, making it as frustrating as it is compulsively fun.

Even though it doesn’t take its own storyline seriously enough, Smile 2 is entertaining. Don’t expect the horror film to have the best commentary on mental health issues, but be ready for some jump-scare fun.

With sincerity and style, Schrader offers a thoughtful film about life and legacy.

If nothing else, it's best to walk into Sean Price Williams’ feature debut, The Sweet East, as a satire decorated with light political and human commentary and wild excitement that never lets up.

Though it runs out of steam during its second act, Butler and company do everything they can to keep the energy going, closing out the film with a well-earned bang.

The standouts are certainly more on the technical side, with Elisha Christian’s cinematography, Will Bates’ score, and Mohan’s close-ups. Then, there’s Sweeney, who, without a shadow of a doubt, convinced me of her acting skills thanks to what she was able to accomplish through her emotional and physical performance.

Tom George returns to directing, attempting to take on the genre with humor and flair. Relying heavily on whodunit tropes, See How They Run is a little too stale and unfunny for its own good.

The acting, from both Black Panther's Letitia Wright as June and Tamara Lawrance as Jennifer, is a particular standout. Their commitment to delivering intriguing performances as troubled twins elevates this weak script and enables viewers to become fixated on what was happening to them.

Evans and Porter deliver heartbreaking performances with the right amount of intensity, leaving a lasting impact.

A highly restrained examination of multiple topics, The Second Act is a film about everything and nothing all at once. Perhaps in line with Dupieux’s style, the surreal, dark humor and commentary produce a messy end product that overstays its welcome.

Though The Perfect Find struggles with the romance aspects, its commentary on finding love late in life is a pure delight.