Brittany certainly deserves a happy ending, just perhaps not quite in the time allotted.

There's a clumsiness here, a succession of setups and awkward payoffs that are so on-the-nose, so cringe-inducingly earnest, that it's hard not to laugh. Even the story behind Grace's name is more likely to trigger guffaws than the kind of sentimental welling-up intended.

 Angel Has Fallen attempts to tell a slightly more mature story. Waugh seems to barter for creative control by the act: As long as the studio gets a respectable pairing of intro and outro set-pieces, Waugh is free to explore unexpected elements of trauma and masculinity.

It’s a shame that the film never rises above a perfunctory level of hagiography, but retrospective memorial docs rarely do.

As in his previous documentaries, Brügger’s actions and tone are shot through with pitch-black gallows humor and dizzying moments of absurdist farce, equal parts Hunter Thompson, Michael Moore, and the great, self-effacing British journalist Jon Ronson.

It’s only in the last quarter of the film, when Wang strays from her own family’s touchstones to explore a case of separated twins, that One Child Nation loses just a touch of its urgency.

Ready or Not is the film everyone had hoped for: scathing, bloody, funny, and hugely entertaining.

At its strongest, Charlie Says remembers that true justice is never easy, nor should it ever be. Its importance is in Harron asking those very questions, putting the audience in the uncomfortable position of contemplating at what point punishment is enough, and that gives Charlie Says true worth.

A moment, please, to appreciate that 47 Meters Down: Uncaged contains a landmark in shark attack cinema (which is a genre, don't question me). Finally, a film has dethroned Deep Blue Sea for the title of "dumbest and most hilarious chomp-chomp moment."

One of Linklater’s greatest filmmaking instincts involves his casting decisions. Newcomer Emma Nelson is a real find as Bernadette’s daughter. Although Blanchett’s performance seems a bit mannered and slightly reminiscent of her Oscar-winning performance in "Blue Jasmine," these are hardly flaws when the outcome is so riveting. Wiig beautifully toes a difficult line between drama and comedy. It’s a line similar to the one etched by this film: an emotional crisis mixed with laughs.

Luce’s power is that it refuses to ever pander to absolutes. Its commitment to ambiguity, to complexity, is defining.

While Good Boys has some interesting moments of reflection, make no mistake that this is a film about fart jokes and having 12-year-olds say “f**k” a lot.

The film is sure to be of interest to anyone who wants to learn more about the beginnings of the California folk-rock scene. Crosby’s reflections are interesting, if not always illuminating. Crowe asks probing questions, yet the answers Crosby provides don’t dig very deep.

This is the rare movie to acknowledge the impact popular music can have on our lives, particularly during the period of your life when you’re struggling to figure out who you are and – more importantly – who you want be.

McCarthy and Haddish never seem to find that balance, leading to erratic performances that serve the moment rather than the scene.

None of the characters are awful, even in their selfish lows. Leonard is blithely affable, backed by his occasionally useful sidekick, Courtney (Awkwafina), so it's OK that he sides with Red (much as Red resents it).

The overall vibe is JV-squad swashbuckling, evoking "The Goonies" and the "Indiana Jones" films for a tweens-and-under demographic, and all without the exhausting quippiness of the "Lego" franchise.

Ultimately undone by some less than remarkable character development and an unnecessary, if currently contemporaneous, pseudo-political undertones. Which isn’t to say it’s not a blast to see Gammell’s eerie, Francis Bacon-esque illustrations come to herky-jerky and horrifying life, because it is, absolutely.

There is a confidence and a self-assuredness on display in Kent’s second feature that was only hinted at in her first. From her unflinching examination of the dual standards for gender and ethnicity to the film’s lush compositions, The Nightingale is a tough watch, but one well worth the ugly brush with sexual violence and trauma.

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.

The Peanut Butter Falcon may lack depth and subtlety, but you can always feel the beat of its heart.

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.

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.

Paradoxical as it might seem, this planet suffering from human activity requires even more human activity if there’s any hope of saving it. National Geographic documentary Sea of Shadows is hell-bent on reminding us of that fact.

Summarizing is futile. The Mountain has productive veins of ore for those willing to mine it. But be aware that finding gems will require sweat equity.

Ultimately, it asks the one vital question: Was Wallace worth his cost?

Sweet, wild, and openhearted, Diamantino is as charming as its muddle-headed protagonist. He may be football's version of a bear of very little brain, but he's the only one with a clear thought in his head.

The exquisitely precise direction by Seligman (making an impressive debut here), the trim editing by Eric F. Martin, the gorgeous nighttime cinematography by Matthias Schubert – all contribute to an eerie otherworldliness in this beautifully executed opening sequence of Coyote Lake. As you witness it, you wonder: Is this a real place in a real time, or some metaphysical state of mind? The movie has barely begun, and you’re utterly intrigued.