Liger fails to live up to the standards of either star or director and instead winds up as a below average potboiler too reliant on local tropes to feel fresh for Telugu film veterans or welcoming for newcomers.

Vogt brings out the ugliness of childhood (the shallow empathy, the lashing out, the selfishness, the curiosity about the disgusting) and ramps it up with endless malice that slowly builds to horrific action. It's the anti-jump scare, with a sickening catharsis that what you think is coming does, indeed, come to pass.

The best thing in this movie is the performance by a cast that rarely falters. It’s solid, from top to bottom.

Even as a guilty pleasure, Maneater is a particularly rough watch.

Where Mad Max: Fury Road was lean, Three Thousand Years of Longing feels like a rough draft that should have stayed in a dusty bin somewhere in the middle of a tourist shop.

At no point does Beast hide what it wants to accomplish. They made a movie that stars an actor everyone loves and pits him against a big-ass enraged lion. I mean, who doesn’t want to see Idris Elba punching lions?

Ultimately, When I Consume You is a dark and tender portrayal of two siblings rejected by the world, and none of it's their fault. It's a startling depiction of bonding that will chill you and move you in equal measures.

The gang's all here for Spin Me Round, and hopefully the ensemble enjoyed the filmmaking process, as the end result is an odd, laughless, meandering comedy that's not entertaining enough to be engaging, or gifted with enough character insight to justify its aimless length.

Unfortunately, the story drags for the first half of the film, and the downright cheesy score and ending song disrupt scenes that could have carried the emotional weight better on their own.

There are no easy answers in The Territory, just a plea for awareness, for intervention.

Most importantly, Claydream is a reminder of a master artist and visionary who revolutionized an art form.

This is still Dragon Ball, with all its quirks so well established that they're just part of the process now.

This pandemic-made feature teems with fertile ideas and observations – about social media, California Goopiness, reproductive trauma, feminist porn – that don’t always feel fully formed – more like purged – and her essential glibness undercuts the potential for real catharsis.

What makes Orphan: First Kill worthwhile is that it acknowledges the original before taking a hard left turn into overblown soapy madness. The modern gothic of the first film transforms here into a perfectly fitting explosion of operatic schlock.

While James Ponsoldt (The Spectacular Now, The End of the Tour) authors a slightly uneven depiction of childhood, Summering still captures the gentle doom of being aware that your life is about change forever.

While turning to a life of crime to get out of debt isn’t the most original concept, Ford’s decision to keep his camera on Emily’s face for most of the film elevates the material, for Plaza’s performance is the draw here. Her Emily is mad as hell and not going to take it anymore, and there’s a steely, unapologetic gaze in those huge brown eyes of hers. Plaza’s trademark twinkle remains, here cast with a crimson hue.

[Yuasa's] latest, magical and bloody historical musical drama Inu-Oh, is a rock & roll, stadium show, pyrotechnic extravaganza.

What begins as a punchy, feminine-biting satire becomes fuzzy after the first act. It’s an admirable effort, but an overstuffed, demanding one as well.

A fun, inverted single-location thrill ride, director Halina Reijn creates one rainbow swirl of a good time.

It is beautiful, quiet, tender, and borne aloft by that rejection of the idea of hopelessness. You don't have to believe in one particular romance, it whispers, to still believe in romance.

Director Dan Trachtenberg proved deft at re-envisioning franchise when he dumped the kaiju found footage gimmick of Cloverfield in favor of character-driven survivalist paranoia for 10 Cloverfield Lane and Prey is no less of a worthy twist of the garrote.

If you weren't afraid of heights before, then Fall will give you the fear. Welcome to vertigo hell, mainly due to the work of cinematographer MacGregor.

Between the neutered and uninspired adaptation, the direction that seems satisfied relying on shots that already exist rather than building something new, and the gobsmacking, borderline offensive portrayal of the lead character by Khan, Laal Singh Chaddha is a big miss.

Luck feels overthought and overwritten. There's a lithe, fun, bright, and much shorter movie in here somewhere.

All too often, in life and in cinema, systems are shown as working simply to oppress: Thirteen Lives reminds us that communal acts can be what literally save us.

If we don’t have an amazing Filipino American family, we can all still relate to the familial shenanigans that revolve around a holiday. Is it worth a watch? Sure. Is it worth seeing on the big screen? Nah.

As the falsehoods stack up and fall away, My Old School will increasingly leave you slack-jawed.

The premise of I Love My Dad is so icky that the film’s writer, director, and co-star, James Morosini, lets viewers know at the very outset that its plot is based on a true story, thus automatically rendering it more palatable.