Ross Bonaime

Sender wants to put us in the perspective of an addict, but instead, it always leaves the audience feeling like it’s missing something, not quite in step with what the film is trying to express. Goldman has a lot on his mind, but Sender sometimes feels like when you have too many ideas, and you try to say them all at once, but it comes out garbled and confusing.

What starts as a more violent Mr. and Mrs. Smith takes an unexpectedly brutal turn, becoming borderline unamusing. Taccone pushes himself to try and break from his usual comic mold, but with Over You Dead Body, he ends up pushing too far.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.

Einbinder, Reynolds, Gluck, and Theroux are appealing as a team, but Strouse doesn’t give them any weight on their own, which leaves this story feeling fairly one-dimensional. Seekers of Infinite Love will, unfortunately, leave you searching for more.

Scream used to poke fun at the silliness of horror movies and laugh at the genre's clichés, but now, it’s indistinguishable from the films it once gleefully lampooned, in what is easily the worst installment so far.

There are fractured elements that, with a little polish, could’ve been something much more, but this is just a generic, unremarkable horror film.

How to Make a Killing is a fun, albeit flawed thriller drama with a mildly dark sense of humor.

Even if The Musical isn’t always a hit, it’s worth it when the film does find its high notes.

Stanton has done truly incredible, groundbreaking things in animation, and he’s almost certainly got a great live-action film in him, but In the Blink of an Eye makes one wonder if Stanton should go a bit smaller and work his way up to such grandiose concepts like this.

Granted, the footage itself and the intense quest to save these eight still make Hanging by a Wire a documentary worth seeking out. It’s just one that doesn’t have as much depth as one would hope.

Even though zi isn’t quite the powerhouse of independent cinema that films like Columbus and After Yang were, it does feel like the work that Kogonada needed to do in order to right his sails and figure out where to go next.

The Gallerist is a disappointment, especially considering that Yan’s last movie as director was the vastly underrated DC film, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) from 2020, a hyper-stylized, playful, and unconventional take on the superhero genre. It would’ve been wonderful to see that version of Yan here, creating an unhinged look at the art world that was experimental, spirited, and daring in the way that film was.

A Private Life is worth exploring simply for the performance by Foster, which keeps this story moving the best she can, despite the screenplay’s constant starts and stops. If anything, the real mystery of A Private Life is why we don’t get to see Foster on our screens more these days.

Maslany can effectively react to shadows and reflections, and Perkins can navigate this cabin to maximize its horror potential, but without the screenplay to back them up, this just becomes a curious experiment without much focus.

As those familiar with Chomet's work would expect, A Magnificent Life is an exquisitely animated film to watch, even if the narrative is a bit rote. But it also makes one think that maybe the original concept for this as a documentary of Pagnol’s life could’ve been more effective and illuminating of what made him such a great artist.

As Ibsen’s play has shown, even a century after its writing, this is still a story with life in it, and DaCosta’s take modernizes it in deft ways. However, the questionable way DaCosta's film goes about it doesn’t do the story justice, making this a party that fizzles out long before the last guest has left.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

Like the title character himself, Jay Kelly is a film that has good intentions, but doesn’t have the follow-through to make good on those promises.

A House of Dynamite begins explosively, but unfortunately, it ends up fizzling out.

While it’s certainly great that Daniel Day-Lewis is back in his element, and Ronan Day-Lewis can craft impressive, imposing imagery, Anemone is just too much empty space, waiting to be filled with something.

The vibe of Him is trying to make the audience unnerved, but the story and imagery being presented are too goofy to take this attempt seriously.

Fuze has the bones of a great idea, and one that does seem like a great fit for Mackenzie, given his past work. But Hopkins’ script is too generic an action exercise, from its bland plot to its nothing characters, that it’s hard to find anything to truly care about.

Steve is an adequate film about teachers, students, and the struggles that they both go through, but it’s also hard not to think that a bit more insight into the lives of the students earlier on — particularly from the perspective of Shy — could’ve made this into something even more special.

A Big Bold Beautiful Journey tries to be too big and too bold, when it’s the smaller moments in which this film becomes a beautiful journey.

Edward Berger's latest is all style and no substance, despite giving Colin Farrell a weird role to sink his teeth into.

An intriguing formal experiment from Steven Soderbergh, focused on two solid performances by Sir Ian McKellen and Michaela Coel.

Quite frankly, it never hurts for a film to preach the dangers of Nazis and how they can be anywhere and everywhere, but it is a bit of a shame Nuremberg isn’t finding a more compelling, enticing way to tell this inherently fascinating true story.

As a ridiculous tale of a celebrity trying to make himself matter, Sacrifice is quite a bit of fun, but any attempt to make a larger point falls flat, just like so many films before it.