Peyton Robinson

The primary struggle of Chernov’s documentary is that it leans into the impersonal in an attempt at devastation. It can’t rely on the men as the crutch of the film’s emotion.

Magic Farm is eye-catching with its high saturation and punchy editing choices, but the seduction of bright and bold visuals is incompatible with Ulman’s unwieldy script. Her hands are full, and oftentimes clarity slips through her fingers.

Putting on display the day-to-day reckonings of Palestinian life under violent Israeli occupation, Nabulsi’s film touches the heart but loses grip on the mind as it journeys to juggle more subplots than its hands can handle.

It’s passable for an easy watch and some uncomfortable chuckles but is bearable only on behalf of Hunter’s loyal antagonism while falling short just about everywhere else.

Peak Season feels like a bunch of friends making a film; at times, this intimacy and dialed-back scale is charming. At others, it pokes holes in the facade of the fourth wall, and immersion is lost.

Based on the book by A.M. Shine, “The Watchers” is Ishana Night Shyamalan’s directorial debut, a fabled narrative that seesaws between fantastical whimsy and proposed horrific terror with lots of ambition but little finesse.

Rustin was undoubtedly made in admiration of its subject. Yet, with a stale approach to its plotline and confused narrative priorities, the film is more like an educational outline than a spirited story.

Dark Harvest misses many beats necessary for a fully realized narrative. And yet the concept and its action-driven execution make a fun watch with some laughs of incredulity.

With a repeated sourness in the film’s comedic efforts and a tragically misused ensemble, Haunted Mansion misses the chance to become a Halloween classic.

The project of Anthem is special and compelling, but the documentary lets itself down.