Rodrigo Perez

Digging For Fire is low-lit and pitched in a minor key, a quiet meditation on compromise, individuality, the loss of identity within a marriage, and the aftermath of disorientation that comes with having children and losing touch with your former life.

No One Will Save You is a very bizarrely unremarkable, abnormally lifeless movie, seemingly starting right out of the gate in the second act and then trying to reverse engineer the audience’s sympathy—and everything else— for the unknowable protagonist.

Not even the funniest actors on the planet could save what is an occasionally humorous, but largely unremarkable rehash.

For all its emotional horrors—witnessing the worst of ourselves and hoping for the best versions of ourselves eventually triumph over our inherent faults—Multiverse of Madness is arguably lacking the humanity, the heart, and soul of Marvel that works so well when balanced with humor and spectacle.

Kill The Messenger hopes to solemnly lionize and exonerate Webb, but rarely does it reflect anything back to its audience other than reminding us how corrupt and unprincipled our system is.

Intimate, expressive, agonizing and beautifully rendered.

A movie that is fundamentally ill-conceived, poorly written, and missing most of the basic charms that made the original “Wonder Woman” such a delight (minus the last act). Directed again by Patty Jenkins, the film is also something of a nonsensical mess narratively, even by the most lenient and forgiving standards of superhero movies where fantastical, impossible things routinely occur. Suspension of disbelief is crucial to this genre, but ‘WW84’ is constantly breaking or conveniently upgrading its rules in ways that definitely break or at least always test your suspension of disbelief.

Steeped in a nostalgia that often feels borrowed and canned—the space-age era impulses of progress and possibility from the 1950s and ‘60s—Tomorrowland asks that you never give up or lose hope, literally and figuratively, over and over again, to the point that the movie has little else to say.

Immersive and committed to its austere form, the solemn, often-dialogue free Dark Night never spoon feeds and always allows the viewer to draw their own conclusions.

It’s bleak and uncompromising, but it’s a hell of an experience.

Respectfully presented, Unbroken is competently made and even has a sequence or two that’s impressive, but it’s ultimately very familiar and eventually draining.

The risible Stoker is a brutally empty, deeply unfortunate movie, and Park Chan-wook's jackhammer of a tool he calls a brush is, on this evidence, something that should be locked away.

There’s a terrific ensemble at the heart of Magic Magic, including its talented director, but this psychological horror is only creepily superficial and has very little of anything insightful to say about people, its characters or its lead.

It’s essential to have characters and a good story around a ‘GvK’ movie because, without it, all your left with is an empty trailer of fight scenes. The irony is this overly involved story detracts from one’s engagement in the movie. Legends may finally collide in this installment, and it’s mildly entertaining in spots, but the whole endeavor is ultimately almost as hollow as the earth’s empty core.

The Boy Downstairs straddles a patchy line between comedy and drama with mixed results, but when all is said and done, the auspicious film acts like a mature consideration of the scariness of vulnerability and laying your heart on the line.

Good Grief arguably doesn’t quite get there in the end, but there is a promising sense of possibility for what the future could hold for Levy as a filmmaker next.

The Drama remains a vital, bleak, and admirably mean-spirited look at the cost of being known and, more expensively, the price of trying to save face. It doesn’t fully cash in on the nastiness of its best idea, but it is funny, queasy, and wholly willing to make everyone miserable for your amusement. In an era of soft, therapeutic romantic storytelling, that alone gives it biting validation.

Jurassic World takes the sensibilities of Steven Spielberg’s “Jurassic Park,” the sense of wonder, the awe, the thrills, and transports them into the 21st century with ease, plausibility and storytelling clarity.

As a taut thriller, it works, but the “why” of it all, the substance that generally makes even Sheridan’s worst efforts still fascinating, is strangely and glaringly absent.

A major gaffe, God Help The Girl finds a great artist taking on a huge challenge and stumbling painfully on its ambition almost every step of the way.

Frustratingly uneven, Kelly & Cal is too glib and prosaic to truly be insightful or impacting.

For all its problems, Bourne is still thrilling and an undoubtedly engrossing action film thanks to its taut construction.

Victoria & Abdul is a movie that flirts with exploring prejudice, cultural tension, power, and religion, but never really consummates the ideas. At best, it tries to humorously dismantle the absurdity of empires and royalty, but that’s about as subversive as it gets.

An American Pickle is a most unexpected Seth Rogen film, maybe less funny than you hoped, but still charming, amusing, and far more considered than you would have ever thought.

Theron can survive almost anything onscreen. Apex proves, once again, that she can carry weak material farther than most actors. It also proves that even she cannot quite drag a dull survival programmer up the mountain.

Despite some creative missteps, there’s still some fight left in “Christy” and Sweeney to make it to the next round.

As epic, grandiose, and emotionally appealing as the previous pictures, The Hobbit doesn't stray far from the mold, but it's a thrilling ride that's one of the most enjoyable, exciting and engaging tentpoles of the year.

The film plays nary a note of reprieve and the dank aesthetic does nothing to help the mood. “Low Down” is unequivocally a downer.