It shouldn’t work, honestly. There’s too much going on in too many directions at the same time. But Villeneuve brings it all together somehow. We’re more than five hours in between the two films (this one is 2 hours and 46 minutes), and while the lack of a sequel wouldn’t be as infuriating as it was last time around, I can’t believe I’m saying this, but I think I’m ready for more.

Red Right Hand wants to be a kudzu-covered, Southern-fried crime story, a morality tale set in the “hills” as rich as pig knuckles from a jar in a juke joint. Mostly it’s just a dopey mob movie with Southern accents of varying quality — predictable and cliched.

The Taste of Things is marinated in warm sunlight, bottles of red wine, sweat from a hard day's work and a touching comfort between lovers. It reminds you of the indulgences of rich meals and genuine connections, going beyond finding someone who remembers date night to someone who knows how to list the ingredients of a bordelaise by taste.

Even at less than an hour and a half, the film is, shall we say, patient in unfolding its story. Part of this is set up, lulling the audience for the shocks to come.

We’re left with some fun, funny and occasionally scary set pieces, but the slices don’t add up to a whole pizza, as it were.

When Argylle is fun, it is really fun. Watching Rockwell and Howard run around the world is entertaining, for a time, but not forever. “Because these things will change,” as Swift sings in “Change.”... Maybe she should have written the movie.

Overall, "The Teachers' Lounge" is a can't-miss mystery that proves not everything that happens in the teachers' lounge, stays in the teachers' lounge.

The Zone of Interest, then, serves as a horror story about the past, and a cautionary tale for the present.

I noticed about halfway through it that between laughs I’d been smiling the whole time. “Mean Girls” may not be totally fetch, but it’s still a good time at the movies.

All of Us Strangers, defies easy categorization in the usual fashion. But it’s also easy to place it in one category: that of really, really good movies.

It’s a messy story, but with Mann’s structural rigor imposed upon it. That is a powerful combination, and one that makes “Ferrari” a bizarrely compelling entry in the Mann canon.

The genius in Wright’s performance and Jefferson’s direction lies in how they don’t succumb to the temptation to overplay anything. Wright gets Monk’s rage just right — it’s internal, though at some point a pressure cooker has to blow.

While Blyth's portrayal of a well-despised character can't go unnoticed and Zegler brings brightness to a bleak world, the issue is there isn't enough time to develop their relationship and make sense of Snow's turn from normal to bloodthirsty.

The Color Purple is a spectacle with big ensemble numbers, powerful solos and duets that will pull on your heartstrings. At a whopping two hours and 20 minutes, it never drags. The music propels the story instead of interrupting. Meanwhile, the performances will have you gasping and cheering.

With a story this sensitive, the main actors and Durkin must walk a thin line between showing the events and not exploiting the tragedies of a family. And through excellent performances, The Iron Claw succeeds, feeling genuine and heartbreaking.

It's a chocolate whimsy-filled film that gives Chalamet a chance to show off and that makes it worth sitting through at least once, maybe even twice.

It’s delightful to see filmmakers and actors take such big swings. It’s even more delightful when they connect, and in Poor Things, they do.

The second the film starts it's evident you're watching a Studio Ghibli film. The animation is unmistakable and is so detailed and fluid you almost forget you're watching an animation.

There is so much beauty in Monster, and so much sadness.

Eileen is indeed a weird little movie, but it leaves a big impact.

Murray occasionally shows flashes of his comic genius, but only flashes.

It’s exciting filmmaking, and Cooper rarely lets up.

To watch Cage ride this rollercoaster of popular culture is a pure delight. It’s also agonizing and will make you squirm.

I’m not sure there’s a lot more going on here than a) the ultrarich are clueless dolts and b) everyone else will do just about anything to become part of the clueless ultrarich. And it’s all so over the top, that’s all it really needs.

It’s not going to make you forget “Snow White and the Seven Dwarfs” or “Bambi” or “Frozen” or “Tangled,” but elements of it might remind you of them. Which is by design.

It's not a usual story: a down on its luck team that has its own way of doing things turns a jaded coach into a human with a heart. We've all seen that before. But, Waititi's singular style makes it a joy to watch and a film worth cheering for.

Napoleon isn’t a failure on anyone’s part. But it’s not a rousing success, either. It’s not really a rousing anything, which is the problem. Maybe Scott should have gone in even more on Phoenix’s quirks and mannerisms, which are the most purely entertaining things about the film. Whatever the case, it doesn’t quite measure up.

Moore captivates as a woman who is either emotionally stunted and unaware or viciously in control of the whole chess board. Director Todd Haynes never cracks to let you know just which one she is. It’s possibly purposeful, but a lack of conclusion left me unsatisfied at the end of an otherwise deliciously disquieting movie.