The story is simple, sometimes to a fault.

Laugh? Cry? I thought I'd die, but then that's the genius of Gordon.

The Intruder is a delightful use of the conventions of melodrama to subvert traditional horror archetypes.

It may be about little more than a guy getting his head a little more straight than he thought it was and burying a few resentments that he didn’t even know were sticking up, but Ride the Eagle knows that a small, sad, personal story doesn’t have to be a tragedy. I

Although predictable, the story still manages to pack an emotional punch and depending on your level of relatability to Swift’s hardships – cancer treatment, custody battles, a stagnant career – it might hit harder than you expect.

Into the Storm captures the magnificence of tornadoes, their awful beauty when they set down, the devastation they wreak, and the enormity of their consequences. The film features a rich array of well-developed characters – including the storm itself – which makes it ever more involving as it unfolds.

Chilling and unsettling, intimate yet monstrously vast in its cosmic horrors, Offseason is as dangerously welcoming as the island itself.

Lux Æterna is barely a film – even Noé has called it an essay – but then it's not meant to be complete. Created in five days on Yves Saint Laurent's franc (one has to wonder what they thought they were getting), it's a discussion, not a conclusion.

However, unlike "The Wolf House," the shifting styles of Marona never feel like change for change's sake, or like an extended highlight reel. Each sequence carries a different tone, a reflection of Marona's inner life and inner light. Even in her tragic end, her fantastic tale keeps wagging with hope.

Furious 7 is, to put it succinctly, a rush and a half.

Of course it helps tremendously that Willem Dafoe plays Pasolini. Just as he did with 2018’s "At Eternity’s Gate," in which he embodied the artist Vincent van Gogh, Dafoe brilliantly captures the essence and a more-than-reasonable resemblance to the real figures.

Viewers hoping for a foray into "Donnie Darko" territory will be disappointed by this shift in tone. But those who like things sentimental and sweet – and there’s nothing wrong with that – will find comfort in the notion of leaving the past behind to allow the future to go forward.

Dench deserves better, and unfortunately it will probably be a long time before she gets another starring role in a movie custom-made for an actress her age.

A powerful little gem: a little bit of "The Outsiders" (the film's tone is remarkably similar to Coppola's film, minus the airy redemption and golden sunrises), a lot of "The 400 Blows," and a slice of "Radio Flyer" all wrapped up in a dirty black bow.

If you’re ready for 90-odd minutes of relentless desert scenes with Efron struggling to survive, then this movie is for you.

In the end, it's all la dolce vita no matter how you look at it.

Fortunately, as directors Beck and Woods have become deviously adept at giving the audience what they want – rock-solid scares.

In Moshe’s new film, Livingston throws himself with defeated gusto into the role of Patrick.

Misanthropy in the movies has a new face. And, surprising to say, it's a handsome one. A matinee-idol face, in fact. Some might even go so far as to call it "dreamy." It's the face of Paul Rudd.

It's a great set-up, and for the first two-thirds or so of the film it works exceptionally well as a jaundiced satire on the world of gay porn.

It Ends With Us pours most of its nuance into the beginning, middle, and harrowing climax of its central relationship.

An indie grab bag.

Equal parts tragedy and comedy, high drama and low farce.

The twentysomething talents behind Mystery Team are still in the comedy minors, but this nerdy, nutty, perfectly pitched first swing suggests there are major things to come.

Little effort is made to churn up romantic chemistry between Foster and McConaughey. For better or worse, director Robert Zemeckis sticks to Sagan's original vision for these characters, in which they're basically totems embodying both sides of a philosophical dialectic.

Those moments, as affecting as they are, can't surmount the overworkshopped feel of the whole film.

A small-scale pleasure, a movie that truly stops and smells the roses.

While never screaming its message, the script by first-time feature directors Britt Poulton and Dan Madison Savage still finds a way to damn the sin more than the sinner.