Robert Daniels

Being the Ricardos isn’t a total disaster, but it’s not a grand triumph either.

Even if this rom-com never completely coalesces, Showalter’s The Lovebirds does ultimately deliver a worthwhile conclusion

Stolevski aims for a life-affirming treatise on the poetics of human existence but strains to be more than a pretty copy of his well-known influences.

Unfortunately, Iannucci and Blackwell are so intent on making every quip funny, they lose the story.

“Spaz” works best when, within the film’s fascinating unpacking of cinematic history, Leberecht also interrogates the unfair practice of crediting and illuminates the work of Williams. He’s a man whose behind-the-scenes talent made every scene unforgettable, and it deserves a bolder documentary than this one.

Alex Wheatle combines the relevant themes that guide the prior “Small Axe” installments: music as an escape from one’s environment, police brutality, and a character adrift from his community — yet the writing struggles to connect the major plot points for big picture interpretations of Alex’s cultural self-education.

Concrete Cowboy breathes new life into the western genre and sheds a brighter light on a faction of Black culture that was largely unknown by white audiences until today.

For a movie so intuitively captivating, so visually extravagant, it very nearly papers over all its emotional weaknesses.

Nope is an idea more than a story. It’s a collection of individually captivating scenes, as opposed to an intriguing whole. It’s a handsome picture, but Peele is far too impressed with its handsomeness to work on populating it with fully felt characters.

Though Willmott has the best intentions with The 24th, and the story of this infantry is ripe for the Black Lives Matter era, the narrative drama is a missed opportunity to honor these fallen heroes.

Like the limited legislative change that has occurred due to the underappreciated efforts of these valiant activists, I wish Snyder’s Us Kids resulted in more.