Demon Slayer: Infinity Castle boasts stellar action, animation, and some wonderful performances, but it would be better as episodes than as a standalone film.

With a plot reminiscent of James Bond, Secret Agent is an entertaining blend of espionage, adventure and love with touches of comedy thrown in.

A fun, high-octane action movie about a chase against time through a fascinating city.

It's enjoyable, sexy, and features a romance worth rooting for — because the only red flag here is the public's reaction to their relationship.

A Private Life is worth exploring simply for the performance by Foster, which keeps this story moving the best she can, despite the screenplay’s constant starts and stops. If anything, the real mystery of A Private Life is why we don’t get to see Foster on our screens more these days.

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.

The concept is an exciting new vehicle for a spin on some well-worn tropes, giving them a facelift for today's audiences. If this is just the beginning, then the future looks bright.

Even though zi isn’t quite the powerhouse of independent cinema that films like Columbus and After Yang were, it does feel like the work that Kogonada needed to do in order to right his sails and figure out where to go next.

It is a character study that creeps up on you, deploying well-timed darker comedic moments that set up the cutting dramatic ones all the better. There is no pretentiousness or ego to either of the stunning performances, ensuring we are hit with the maximum impact of a maniacal masterclass of acting from Abbott and Qualley.

Empathetic human performances turn Sovereign into more than a typical crime thriller.

While Park injects his own joie de vivre to his on-screen performances as an actor, there is a distinct lackluster quality to Shortcomings in its biggest moments. It feels, at times, generic. The story, penned by Tomine, still holds the same feelings for me as the graphic novel, which is to say that at least they provoke thought, but Park’s own style feels far from refined.

It plays like a late-night serial killer special on a true crime channel. It's organic, unnerving, and proficiently grounded as a modern criminal nightmare.

It’s the refreshingly modern and tender depiction of intimacy and pleasure that will stay with me. After years upon years of sex scenes that are steeped in the male gaze or are shoehorned in to attract the money of horny youngsters who have no real interest in the story, it’s about time we treat sex with the tenderness, openness, and grace that it deserves on film — and this is exactly what Lady Chatterley’s Lover does.

At the very least, Diamond Hands is an entertaining and informative look at a moment in time when the many overcome the few, but it doesn't land solidly enough to leave a lasting impact.

Minnie and Moskowitz could easily be retitled as “Men Who Yell at Gena Rowlands About Why They Should Be an Item”. But with John Cassavetes script, the yelling is fun.

What the film lacks in these specific story aspects it makes up for with its enchanting style and captivating tale.

River Gallo shows not only that these stories are powerful and have value, but can also be beautiful and deeply moving.

What ultimately weighs it down is the lack of a core narrative to ground the chaos and madness around it. Still, come for the views, the insanity, and Cage giving away a priceless watch for a flat white.

Dancing between the ruminative and the revelatory, it never succumbs to being maudlin or cloying. The Life of Chuck is a modern fable told with the deftness of a fairy tale, with the sheer exuberance of a musical while exuding the same sense of wonder one gets staring up at the heavens.

In the end, All That We Love is a film about permission: permission to grieve in our own way, to allow others to do the same, and to know that we are still worthy of acceptance, even in our less-than-perfect moments.

The Final Reckoning is stuffed, convoluted, and ludicrous at times. But it’s also mostly a great send-off to this universe, a deserved celebration for everything this series has accomplished, and one final (again, seemingly) showcase for Cruise as one of the greatest action stars of all time.

Wakanda Forever isn’t perfect, but its ability to handle this tightrope walk between exploration of loss and a larger superhero film makes this one of the most moving MCU entries so far, and one of the best films to come out of Marvel’s Phase Four.

With Oliver Garcia’s exquisite costumes and Karen Murphy’s production design, both brought alive to their full potential by Jess Hall’s stunning cinematography, Chevalier is not just a compelling story, it’s a visually compelling one too.

It's a fun narrative, the action elements are well done and uncompromising, and the jokes work. Sure, the narrative could use a little shine in certain aspects, such as the conspiracy at the film's heart and the background of their newly deceased, estranged father, but as a whole, it's a stellar outing and a lot of fun, a blank check for a probable franchise.

Desert Road almost immediately establishes itself as a potent thriller, but the real fun to be had is watching it evolve from one type of film to another, as mundane threats give way to more mystical hazards.

Jérémy Clapin’s Meanwhile on Earth is a mesmerizing work of science fiction with a magnificent performance by Megan Northman.

The trio of actors has such chemistry and the movie's sense of humor is so sharp that it is hard not to be captivated by what you are watching.

While Bloody Hell is undoubtedly courageous for dealing with many sensitive themes, the film struggles to find its pacing and keep the audience engaged in a story that sometimes feels too predictable.