Berg’s documentary is at its strongest when it focuses on the musical legacy that Buckley was so concerned about that he would leave behind, and less so when it tries to delve deeper into who Buckley was as a person.

It’s the movie’s efforts to make this as digestible as possible for the audience through its light-hearted tone and simplistic dialogue that render it a movie you watch on Netflix with your parents and probably never think about again.

The movie hangs on the nuances of Cantor's performance, but it never seems to come together.

Though the themes in Atropia are more subtle than one might hope and expect from a war satire, and the film could benefit from more focus, Hailey Gates successfully draws intriguing parallels between war and the entertainment industry that will have you looking at both in a whole new light.

Dark Nuns doesn't reinvent the wheel. If you're seeking out an exorcism film that's going to shock you and be vastly different from what you've seen before, you're going to be disappointed. But what Dark Nuns does have are two central characters of the like that we don't often see.

Drag makes the most of its fairly simple conceit.

There are a lot of fascinating ideas Green is throwing into Opus, and it's obvious that this is a fully realized concept that he's worked on for years; not only in the script, but in the extra work he's done in fleshing out this world. Still, we don't see enough of that work come across in the finished product, and the ideas here come off as muddled, failing to connect with the audience beyond a superficial level.

If you come solely for the comedic stylings of four powerhouse actors, Mountainhead will certainly win you over if you don't take it too seriously. But should you expect a scathing takedown of Big Tech's best and brightest, the movie will act largely as a reminder that watching a bunch of rich guys spout off ignorant crap inevitably gets old and adds nothing to the conversation.

Watchmen: Chapter 1 is a compelling curiosity, but never matches the power of its source material, and, if anything, should make people turn to the graphic novel instead of checking out yet another adaptation.

Despite solid directing, effects, and production design at various points, The Kitchen doesn't explore its futuristic dystopia nearly as profoundly as it could.

It's not the Sandra Hüller movie you might have hoped for, and Sisi & I never communicates any particular reason for us to perceive Sisi through this boring outsider's perspective. But even if the movie doesn't come to a clean point, it maintains a certain grandeur.

It is a somewhat decent movie hampered by so many preventable oversights and missteps.

Tarot is a pretty forgettable horror movie. Dull characters, a basic plot, and very little to say with its themes render it a fairly unmemorable experience.

War Machine does indeed struggle to stand out in a crowded subgenre of alien invasion movies, but it also does enough to likely satisfy action and sci-fi fans. There are glimmers of brilliance with Ritchson's surprisingly nuanced performance in the lead role and at least one truly great action sequence, but just about every other aspect falls into "just fine" territory.

It's content with being simply silly when it could have been so much more. Still, Doin' It will make you laugh out loud throughout its runtime, and Lilly Singh shows that she has what it takes to succeed on the big screen.

Oh, Canada is a more reflective work from Paul Schrader with plenty on its mind that still falls short of his best works.

Ash feels too familiar, which is disappointing coming from such an idiosyncratic filmmaker like Flying Lotus. This material feels like it's too derivative to be effective, but the video game-like atmosphere, bonkers direction, and reliable cast make it far more watchable.

[Bartholomew] gives us insights into her character more naturally than some of the occasionally forced dialogue, showing us glimpses of her increasingly fractured mind through an embodied performance. Even when the film doesn’t fully capture the spirit, the spell she casts gets awfully close.

The film does pull out all the stops for the finale but, for nearly every moment it stands tall in this conclusion, it also stumbles and falls in the getting there.

Nice Days doesn't execute its emotional or comedic beats with the same enthusiasm, but the pulverizations are still bountiful — there's plenty of bruised and bloody aggression to save the day.

Where the script falls short, Norton and Dunne pick up the slack and carry these characters through to the finish line.

Greedy People is somewhat tonally amiss, but not long enough for the experience to self-destruct. It's a fine working backward whodunit from the inside out.

The Friend's heart is in the right place, but it can't get out of its own way.

Love Me has its flaws. But the cast is endearing, the robots are cute, and if you enjoy a romance movie, you won't be disappointed in this.

Kiss of the Spider Woman is yet another decent adaptation, but even Condon's visual panache and scale can’t quite elevate this story to greatness.

As entertaining as Until Dawn is, it’s fairly light in most regards, other than the kills. While the characters in the game had more time to have intricate connections to one another, these five are fairly one-note.

In spite of its faults, Vanessa Caswill's latest directorial effort offers a pair worth rooting for and winning romantic leads, proving that Monroe and Withers have what it takes to captivate audiences in a genre that they haven't previously been linked to.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.

It features terrific performances from Roberts and Garfield, but even they are not enough to save the film from being too muddled and morally ambiguous for its own good.

While it’s a cozy and enjoyable enough watch with decent performances, Good Grief is too middling to be memorable, sticking to an overly sentimental tone despite its best moments having more edge and bite to them.

Spaceman is a rocky journey, but in times like these and thanks to Sandler’s performance, it’s often worth the trip.

The Choral offers a unique look at WWI, while struggling to maintain balance between its compelling lead and somewhat lackluster storytelling with its other subplots.

While All of You features powerhouse performances from Brett Goldstein and Imogen Poots and some sharp, witty writing from Bridges and Goldstein himself, the film aims high but lacks clear stakes, making this love story difficult to invest in, with underwhelming sci-fi further muddling the heartrending, but ultimately unfulfilling romance.

While G20 doesn’t always rise to meet Davis at her level, it’s a performance that elevates even the weakest beats, giving audiences a satisfying, if uneven, ride.

There are more misses than connections in the third act, and for its title, it's never really vicious enough despite the blood and gore to come. Still, it'll keep you on your toes as it's cutting off someone else's.

This movie wants to get in, get the job done without complication, and get out before it overstays its welcome. On that front, The Rip is solid enough to earn a mild recommendation.

With beautiful visuals, an interesting plot, and a middle that some might even say makes up for its beginning and ending, Grafted is worth watching and Sasha Rainbow is a horror filmmaker to keep an eye on.

The film does show that Gomes is capable of making an authentic period piece and a stunning documentary, but the attempt of trying to do both at the same time has led to an unusual experiment that will leave one scratching their head.

Like the title character himself, Jay Kelly is a film that has good intentions, but doesn’t have the follow-through to make good on those promises.

With heartfelt and emotional performances by the cast, See You When I See You is a stirring tale about survivor's guilt, grief, and reconnecting in the wake of tragedy. Though the film hits on all emotional notes, there's one crucial setback that holds back an otherwise moving story.

If a movie is going to give us a man reuniting with his dad and them coming to love each other, then it needs to give them the freedom to really hash it out and explore the consequences of their estrangement. Looking Through Water only skims the surface.

Beyond the ‘90s references, Y2K is an underwhelming, but mostly entertaining movie that never quite goes as far as it should with its concept, comedy, or the relationships between its characters.

Laxe is aiming to shock the audience, and in that, he succeeds, but the final product suffers as a result.

It’s never as deep as it thinks it is (or has the potential to be), but as long as you go in simply wanting a nasty, gorgeous, unhinged ride, you’ll leave the rollercoaster satisfied — and probably a little nauseous, too.

There are successful elements in the script, certainly, but there are also several frustrating moments that simply needed another draft to work the knots out. All that said, it's a successful foray into sci-fi territory thanks to a willingness to stretch the subgenre's established rules, making for a fun murder mystery that keeps audiences guessing.

The Luckiest Man in America is a strong story when it sticks to the facts, and Hauser is undeniably an excellent choice for this role, but the film really presses its luck by taking such huge liberties with the facts.

Holder's wayward romantic indie chases meaning through quiet reflections that navigate hardship somewhat cleanly. While it's a delightful representation of Brooklyn's playground, scenes flow through motions like a wandering observer.

As a ridiculous tale of a celebrity trying to make himself matter, Sacrifice is quite a bit of fun, but any attempt to make a larger point falls flat, just like so many films before it.

Even with striking visuals that offer compelling depth and beauty to Minahan’s overall look, the film’s inability to keep a consistent pace and tone, or even establish its primary focus through its leads undercuts its biggest, most poignant messages.

It works for about half an hour, but its excess of panache eventually gets tiring, and the story's seams are just too frail to hold it together. Still, those dance sequences are really something.

In the moment it works, and despite its flaws, Goodrich is just more proof of how good we've got it that we get to witness an actor like Michael Keaton.

In the end, Chapman’s film serves as a portrait of a family rendered in three dimensions, capturing both the strength and human frailties of these individuals in a detailed fashion.

Trap House is a fun enough time worth watching, but it traps its star and doesn't let him out.

The predictable story would be forgivable if Bad Shabbos' execution of this darkly comedic crime caper had a truly excellent execution.

There’s a lot to like about Seeking Mavis Beacon, and the documentary is at its best when it feels like a celebration and tribute to the technology and its elusive cover model. Overwhelming and chaotic editing choices, however, detract from its overall impact, and what makes the film authentic and special threatens to get drowned out.

A House of Dynamite begins explosively, but unfortunately, it ends up fizzling out.

There is just enough magic that it discovers by the end to give it a closing spark, but there is a mighty long road to get there, ensuring it all just remains merely okay as opposed to comprehensively good.

The actors do well working in Manuel’s specific directing style — one that’s characterized by unhurried dialogue — it’s just that the style doesn’t always resonate, tamping some of its power instead of enhancing it. Filipiñana is a feast for the eyes, but you’ll likely still leave hungry due to the punishingly slow pacing.

Even though F Marry Kill doesn't quite live up to its potential, it doesn't mean it needs to be buried six-feet-under -- it is more suited to a steamy, giggling one-night-stand.

It may not be the terrifying marvel some Raimi fans are hoping for, but it's still an entertaining enough watch that makes an SOS unnecessary.

Magic Farm starts out promising, and there’s a lot to like when it comes to its performances and visuals, but the underbaked plot keeps it from being fully satisfying.

There is fun to be had here, but it's spread too thin in a movie where even 90 minutes is too long.

If the filmmakers behind The Life and Deaths of Christopher Lee can’t even bother to properly honor that legacy by putting in the kind of effort he did, then you’re better off just picking up one of his many Hammer films instead.

Arthur the King plays out like both your typical sports movie and your average dog flick. It's sometimes emotionally manipulative and full of melodrama, yet that doesn't stop it from being a perfectly fine way to spend 90 minutes at the movie theater, especially for dog lovers.

It’s an experiment that only works here and there, yet when it works, there’s beauty in those rare moments.

If you are hoping to double down on the gore this Halloween season, this delightful, yet cheesy title will fit the bill.

You know every single beat of how their relationship is going to turn out, but because of how cute the dog is and how cute Deschanel and Cox are together, you can't help but buy into it. They're great together, and their charm elevates a script that could have easily been translated into yet another streaming Christmas romantic comedy.

Man is a true mixed bag. The action is staggeringly impressive, both from a visual and storytelling standpoint, but the material in between runs the risk of deflating the experience via pacing problems and narrative confusion.

If anything else, Abruptio will make you highly uncomfortable, and it's so unnerving that it will give you nightmares. Perhaps that's the whole point of using puppets.

The Pout-Pout Fish is not bad by any means, but don't go in expecting a new animated classic. Little kids will probably enjoy it for the innocent, lesson-filled, mild fun it is, especially if they've been introduced to what inspired it first. There's nothing wrong with that. It's what The Pout-Pout Fish aims for, and it achieves the goal.

Drifting between heartfelt dramedy and broad comedy, Driver’s Ed doesn’t always blend the two with enough finesse.

A Big Bold Beautiful Journey tries to be too big and too bold, when it’s the smaller moments in which this film becomes a beautiful journey.

Brothers is a largely enjoyable comedy, predominantly thanks to its talented central duo and smart direction by Barbakow, though it admittedly suffers from a host of issues baked into the script itself.

While there's a randomizer sense to everything, frights abound, and there's a mercilessness that bites down hard. Execution may slip and slide, but Daniels doesn't waste his first crack at the ghoulishness of this Earth or deep below.

As it stands, The Roses has its charms, but it could’ve used a few more thorns.

Granted, the footage itself and the intense quest to save these eight still make Hanging by a Wire a documentary worth seeking out. It’s just one that doesn’t have as much depth as one would hope.

It's considerably elevated by strong performances and some excellent directorial and cinematographic choices, but it ultimately is undone by details and narrative pivots that don't work.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

Don Lee comes out the other side unscathed since his charisma helps carry most of the story and he’s always fun to watch.

Juliet & Romeo isn’t necessarily a good film, but it is a very fun film, and there are far too few films that seem content in simply entertaining for the sake of entertainment.

Prom Dates mostly blends into the countless other films that cover the same subject matter, but there are a few moments here and there that elevate it to something more. While the characters are thinly drawn and their arcs underbaked, the comedy is there for the most part.

In an environment where meta horror is all the rage, Big Baby doesn't reinvent the wheel, but it does check all the basic requirements. It's got a strong hook and premise, a character and a villain who are easy to connect with, and some pretty gnarly kills and effects to boot.

There's certainly good here, but it's hard not to wish certain key moments were allowed to thrive.

The Napa Boys, written by Corirossi and Armen Weitzman, is a ludicrous concept that quickly throws you into its style of comedy and doesn’t hold your hand.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.

Altogether, a lot works about Now You See Me: Now You Don't. It's a lot of fun, with a dangerous new foe and big, great-looking tricks. The new cast members are all stellar, have an engaging dynamic with the original team, and everyone gets a stand-out hero moment (a must for an ensemble this size). On the other hand, the script feels perpetually rushed.

This Is Not a Test won't give you shivers, but its zombie invasion will leave you hopeful.

It ends up in an odd space between psychological thriller and straight-up jump-scare horror that unfortunately drags down an otherwise compelling film.

Luc Besson's Dracula is weird. Really weird, borderline nonsensical at certain points. That being said, its great take on its title character is enough to call this one of the Leon: The Professional and The Fifth Element filmmaker's strongest in recent years. It takes a lot of swings, and while not all of them hit, it nails the stake in the heart of what makes this story so timeless and special.

Don’t Let’s Go to the Dogs Tonight is a fascinating indie flick with enough pull to find its audience. Davidtz does well enough with her first feature, and the story, along with Venter’s incredible performance, is more than enough to pique the audience’s interest enough to perhaps pick up the memoir.

Bird ultimately reads as Arnold “playing the hits” with a narrative she fundamentally knows how to stage in her sleep. Ultimately it feels too familiar, even with the welcome magical realism additions and a hallucinogenic slime secreting toad. Arnold fans will no doubt find plenty to latch onto with Bird, but it’s unlikely to convert non-believers.

For Andrews, Bring Them Down is a capable, intriguing debut, but it needs more depth than this revenge tale has to offer.

Poulter's acting keeps it afloat ultimately, but there are moments when the desire to focus on the recovery journey overshadows the actual story at the heart of the film. Ultimately, Union County is a respectable debut for Meeks, but in trying to do too much, it fails to land on solid ground by the time the film is over.

Samuel Van Grinsven’s ambient and meandering ghost story is undoubtedly a haunting concept with committed performances and effective elements, but the film just can’t help but overstay its welcome.

Drive-Away Dolls, the solo directorial debut of Ethan Coen, is an occasionally charming road trip comedy that never quite reaches the wit and brilliance of other Coen projects.

The film isn’t without its flaws and weird choices, but the fact that it works at all is a testament to the Zellner brothers and this incredible cast being willing to give their all for such a deranged idea.

The film has one mode, and it's never coy about its intentions to pry tears from your ducts as often as possible. If you're in the mood for a Shakespearean J-drama about mortality, stock up on hankies and let 'er rip.

Steve is an adequate film about teachers, students, and the struggles that they both go through, but it’s also hard not to think that a bit more insight into the lives of the students earlier on — particularly from the perspective of Shy — could’ve made this into something even more special.