Underlit, shot in the same murky beiges that plague so many low budget horrors, and not as profound as it thinks it is, it isn't quite exploitation schlock or a cerebral shocker, instead relying on both conventions for a hybrid that ends up with the satisfaction of neither.

Los Hermanos's fly-on-the-wall focus on the brothers twisty, unpredictable predicament feels scattershot at times.

Unfortunately, it's also graceless and predictable, with absolutely no surprises between the start of the family's off-road adventure and their inevitable rescue by park rangers.

There are gestures toward a deeper interiority to Alexis’ character – and perhaps a different, genuinely thorny film about great art via dubious methods – but it never quite investigates that far.

Perhaps this approach makes A Quiet Place II the cinematic answer to downloadable content, a standalone adventure that offers new levels but no new narrative.

Cruella is not as perfect as the seams Estella stitches, but there’s something ever so charming about its strut.

In The Heights is unashamedly romantic, fearlessly thrilling, endlessly optimistic and given life and voice through sheer love of people, of place – of community.

Final Account is about today as much as yesterday, and that makes it perhaps the most urgent World War II documentary of them all.

Inspiring true story? Perhaps not, but certainly a story that’s genuine enough to earn a few smiles.

It's not if Michael gets out of his rut (or when he gets to chasten Pineapple a little along the way), but how, and it's a fun ride with him until he reaches that destination.

You’d think this chapter in Danish history would inspire passion in a native filmmaker, but the movie lacks fervency.

Franco brooks no quarter in New Order, and the businesslike tone and lean economy of the film make for an incredibly unsettling experience. He also layers the film with an ambiguity that keeps the viewer off balance.

Remember that meme format about how “men will literally x instead of going to therapy”? That’s arguably the elevator pitch for Riders of Justice, a spiky, sensitive, lewdly humorous, and sporadically violent meditation on obsession, vengeance, and statistical probability.

Focusing on a quartet of charming, venerable men and the dogs they love, the film offers an engaging portrait of life in the truffle hunting trade, a bucolic life spent roaming picturesque forests, maintaining the winter wood heaters, and drinking wine.

The Iranian production There is No Evil (Persian title: Satan Doesn’t Exist) may not revive the portmanteau film to its former glory (the comic 1963 Italian Oscar-winning trilogy Yesterday, Today, and Tomorrow being a stellar example), but it’s a comparatively solid quartet of short films that critically examine the country’s dehumanizing system of capital punishment, putting a human face on the citizen-executioner asked to carry out the all-too-frequently enacted death penalty.

Sheridan's flair has always been in ensembles, but here that trait is caught in a stalemate with the desire to provide an underwhelming Jolie with a star vehicle.

Those obsessed with first-person and screenlife films may want to explore Profile from a strictly technical standpoint, and they are welcome to do so. Everyone else can avoid it entirely.

It’s a familiar template for domestic drama, particularly in its observations about traditional masculinity, but rarely – at least, in recent memory – has this type of story felt so potent or dangerous.

For experts in the field, who this is most undoubtedly aimed at, this is a rare and incisive look at one party's stance on one of the most important diplomatic initiatives of our time.

It’s as if Finding You was written by a computer program that studied 2000s rom-coms, taking the worst tropes and clunkily blending them together.

The college archetypes get a bit on-the-nose, and some lingering underwater scenes feel jammed in to match other coming-of-agers. But ultimately, the imperfections just feel cute.

With their debut, Charbonier and Powell proved a rare grasp of childhood horror, and keeping the perspective of youth among adult sins. The Djinn is even more reliant on that ability, and on their extraordinary relationship with the returning Dewey.

Spiral embodies the franchise James Wan and Leigh Whannell built, while being totally refurbished for a new generation.

Even if you like Snyder's non-superhero work, this feels like a serious step down.

Wrath of Man may soon occupy the same rarified air as Joe Carnahan’s The Grey, another film anchored by an aging action star that promised revenge and delivered something more.

Look past the uneven narrative and you’ll find a new cinematic voice with something to prove, and the formal prowess to back it up.

In a time when happy endings seem in short supply, The Water Man's sense of heroic wonder is the kid-sized epic we need.

Tran undoubtedly aims for an old school Hong Kong comedy martial arts movie feel, lighthearted and light on its feet, and he lands that blow dead on. But rather than a knockout punch, it's a tickle on the ribs and a tussling of the hair from this sweet and funny action flick.