Rodrigo Perez

It’s arguably Tarantino’s ugliest and most political film, but not his best by some distance.

Time Is Illmatic is comprehensive, even wisely holistic, but still feels as though something is missing; it’s as if in trying to cover the history, the music, the ecosystem, the upbringing and the man itself, each cancels out the other out, leaving only a surface exploration.

Spider-Man: No Way Home is maximalist, chock full of familiar characters and callbacks, and sometimes all that greatest-hits reminiscing is diverting and and entertaining. But it’s also not very necessary, making for a very regressive, fan-service-y ‘Spider-Man’ legacy-sequel that’s overly nostalgic for its heydays.

Ultimately pleasurable if very disposable, Homecoming offers strong teen dynamics and for once, serves up high school-sized stakes instead of placing the planet in peril.

Sure to baffle some, it’s a weird movie that isn’t actively weird, but what’s striking about the picture is Sobel’s point of view and confidence. While the movie is amorphous and porous, it’s clear this is exactly what the filmmaker is going for, and that’s certainly bold for a first timer.

While far from perfect, Welcome To Pine Hill works more often than it doesn’t and is an intimate and existential character study of a man out of place with his past, himself, and his surroundings, and the push and pull of former and future worlds beckoning him.

Evans at least provides enjoyable pandemonium in Havoc, which is not a perfect film by any means, but certainly more worthy than some of the Netflix originals that aren’t delayed and are delivered at your streaming front door immediately.

It takes a huge leap of faith to go along for the ride, but Boyle’s impassioned, viscerally paced, and well-directed movie is so heartfelt, even the biggest pessimist will likely begrudgingly warm to it, flaws, and off-key notes and all.

Eventually, the comedy coalesces enough to chalk up a small win. Mind you, Beverly Hills Cop: Axel F isn’t reinventing the wheel, and low expectations might help. But it does make a remarkable transition from something that initially feels dire to something that eventually lights up, pleases, and produces some foul-mouthed ‘Beverly Hills Cop’ energy to feel familiar in the best sense.

Aesthetically detached, clinical, and with murderousness always happening in broad daylight, Veni Vidi Vici might arguably be more clever than laugh-out-loud funny or insightful. Still, some of the facetious formalism goes a long way.

The film’s real revelation is that 14-year-old Alfie Williams. For all of the names in the picture, it’s an ensemble built around him, and Williams proves his mettle and will undoubtedly have a long and prosperous career after this film.

Atmosphere and feelings can only do so much when story, and its credible beats, seem to have fallen by the wayside.

Anyone who finds this conclusion a humanistic or socially reprehensible dealbreaker can hardly be faulted. Before these questionable issues come to a head and then falter in the finale, there is a lot of value in The Girl.

Dark Horse is crowd-pleasing and rousing, but its biggest problem is that no successive part of the documentary can sustain the power of its opening prologue.

No one tries to reinvent the wheel, and everyone plays the greatest hits, steering things right off the cliff into explosive, slow-motion ecstasy, where ‘Bad Boys’ thrives and survives best.

Miles Ahead is well-intentioned and ambitious, but ultimately uneven, as it cannot redefine the structures its so desperately wants to break down.

Shang-Chi might get bogged down in the weight of water carrying -plot, legend, plenty of backstories, MCU connectivity, and the obligations of climatic superhero action that gets unwieldy, but in the end, it’s a winning film that’s likable and that quality goes a long way.

Every Secret Thing is not built to satisfy, and so its sour ending doesn’t help its uneven experience. Every Secret Thing is not unlike last autumn's abduction drama "Prisoners." Both demonstrate an excellent level of craft and are handsomely shot and composed, but both suffer from narrative issues.

While “Frida” does show signs of promise, especially when it leans into the distinctive, and Kahlo’s penchant for magical realism, it’s never as vibrant as her. One wishes the doc could similarly unshackle itself, match the artist’s radiant spirit, and push itself into the next innovative frontier.

It’s a classic “Predator” film in many ways, subverting the paradigm slightly by featuring a new context: a Native American female warrior at its center, Naru (a persuasive Amber Midthunder, full of conviction). But as fresh as Prey does feel in this new warpaint on the surface, the film does feature a lot of inherent, built-in limitations.

Thor: Love & Thunder can be enjoyable in spots, but disposably and inconsequentially so.

Well-intentioned and intimate, Alex Of Venice has its heart in the right place; its pains and struggles might be small stakes and personal, but they’re very genuine, relatable and universal. There’s a lot to admire, which is why the movie’s uneven grasp of narrative fundamentals is so frustrating.

It’s a strange and odd, film, alternatively admirable and gripping, and also flat and one-dimensional.

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

An admirable and touching picture, Last Days In The Desert can be deeply moving in moments, but as restrained and elegant as it is, the picture never quite transcends.

For all its bluster, end-of-doom stakes, gravitas and super-seriousness, what Whedon’s movie does best is communicate its concern for the all the human beings touched by this story: the broken, nearly shattered heroes, their extended families and even the civilians caught in the crosshairs.

There's a great movie somewhere inside Touchy Feely desperately trying to swim to the surface, but its obscurity also comes with an inarticulateness that robs it of its potential.

First Cow is faint, deliberately paced filmmaking where you can often hear a pin drop. But in its tiny way, the modest and gentle little film is moving and poetic.