Sarah Friedland's directorial debut is a visually striking but shallow exploration of dementia.

While Haynes isn't at his best with May December, a talented cast and an intriguing story make the film an entertaining exercise all the same.

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

Silver's vision doesn't always work, sometimes feeling like a mishmash of ideas and tones that don't always go well together. But when the film focuses on this central relationship, Between the Temples finds a lovely sweet spot that makes it all sing.

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.

You’ll Never Find Me gets lost in its own madness. Its ending is less ambiguous and more thoughtless.

At the end of the day, Soft & Quiet shows a shocking and unbelievable series of events that are meant to cause a reaction and leave the audience with thought-provoking questions. This is not a film for the faint of heart, and might just leave you a bit shell-shocked in the aftermath.

The Mastermind vascillates between wanting to lean into the thrills of a heist and falling back on Reichardt's tried-and-true formula. The result is a confusing mix of tones with a fairly basic concept that rarely dips below the surface.

An intriguing formal experiment from Steven Soderbergh, focused on two solid performances by Sir Ian McKellen and Michaela Coel.

Measures for a Funeral is brimming with style and painstakingly researched, but the fact Bohdanowicz seems to insist on showcasing every tiny detail she discovered at the sacrifice of making a leaner, more focused, and riveting story causes a dissonance that makes it feel dead on arrival.

The ultimate ambiguity might be enough for some to praise Lin's work, but there's simply not enough to chew on by the end of the story for it to be a resounding success.

Io Capitano fails its stirring lead performance with generic filmmaking and storytelling impulses.

Instead of a flowing narrative, it’s a series of scenes, the worst and best parts of their 13-year relationship, and doesn’t come together well enough to feel like a complete story. This combined with the lack of Coppola’s vibrant, feminine, and electric aesthetic makes Priscilla a major disappointment from a true cinematic visionary who's capable of better.

Though there are shocking moments, it mostly plays things safe, refusing to fully embrace the intensity it occasionally flirts with.

Tafdrup defangs his feature in the final act, choosing to forego the road less traveled, completely breaking up the tension of an otherwise uncomfortable, tension-filled story.

Ultimately, Dìdi's problem is that it is charming but aimless. Izaac Wang is perfectly cast as Chris, and he has amazing chemistry with this cast, but there just isn't enough to go off of. It feels like we're looking into a vignette of someone's life rather than taking in a fully realized story.

All held together by a transcendent performance from Imogen Poots, The Chronology of Water isn’t the strongest directorial debut, but it does hold glimpses of what Stewart is capable of.

If viewers manage to sync with this specific wavelength, they will definitely enjoy Sen’s methodical noir deconstruction. Still, it might be asking too much from the audience, especially where there’s so little payoff to be found in this corner of the Australian outback.

Given that the two leads in this project don't seem to have a clear driving force to their actions, this feminist thriller does more to show the challenges that women face than to create fully developed characters. Although the film does end with a bang, these missteps leading up to the resolution make the final scene bittersweet.

Road Diary: Bruce Springsteen & The E Street Band is a straightforward yet enjoyable trip with one of the best live bands ever to exist. Yet considering the story that this tour has told so far, it's a bit of a shame that Zimny's documentary doesn't explore the entirety of what this road diary had to offer.

After pushing up against the confines of a conventional musical biopic, it does end up mostly operating within them, hitting all the notes you’d expect it to hit, but that doesn’t mean it doesn’t ring mostly true when it counts.

Father Mother Sister Brother does have little pockets of Jarmusch's genius scattered throughout, but not enough to make up for how unfulfilling the entire experience is.

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.

It's a nice slice-of-life character-driven film, which is always great to see, but there is very little drama or conflict to keep the viewer invested past the colorful animation.

Occupied City starts off strong, but after the intermission, you can feel how aimless the documentary is at times, with the final act feeling almost excruciatingly long.

Last Summer’s solid performances elevate it, but it never reaches the heights it could by digging more deeply into the themes and more firmly grounding us in the characters and their emotions.

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.

Carmoon establishes a plot that could have been great, but becomes too caught up in the visuals of it all, and the script pays the price.